The Last Train, by Anthony Montes
Film review by C.K. Geraghty
The recently released film, The Last Train, by Anthony Montes, is for the fortunate viewer, an unexpectedly found treasure, as if one stumbled upon a precious gemstone while grasping for loose change, and the discovery’s hidden riches escalate in value and profundity as the story unfolds.
The premise of The Last Train initially engages us in the struggle of two battered human beings, nearly broken by the tragedies each has endured. Without sentimentality, by simple and honest study of human interaction, the film transmutes a perspective from existential pessimism into a recollection of the power of compassion, and is a reminder of the endless possibilities for the healing and redemption of the heart. With understated simplicity, The Last Train reveals how real love between any two human beings, no matter how defeated and wounded each may be, has the power to mutually redeem the other from despair. Thus human suffering is divinely alchemized to gold.
Both lead actors, Anthony Montes and Danielle Ciera, give raw performances. Ciera, as “Rain”, (her stripper name), is unavoidably adorable and accessible, despite her tough defenses and cold attempts to push “Anthony”, Montes, away from her. Her performance is infused with delightful, quirky authenticity and childlike openness. Montes, simmering in understated grief, draws us into the complexity of facing life’s tragedies, with all its attendant guilts and regrets. It is by recognizing Rain’s indisputable worth as a human being that Anthony finds a way to resurrect enough self love to awaken his heart and to choose to live again.
At the close of The Last Train, we are left with the inevitability of accepting life’s darkest and harshest trials in order for us to move into the light of life’s new beginnings.