90
The New York Times by Beandrea July
An immersive, deeply empathetic look at what it means for first-generation Americans like Doris and Jacks to reclaim the right to pursue unpredictable dreams.
We hate to say it, but we can't find anywhere to view this film.
What are people saying?
What are critics saying?
91
A tribute to those children of immigrants, especially those in families divided across borders, pulling for their own aspirations while carrying on their backs their parents’ hopes for a life without fear, “Mija” beams with the knowledge that in its specificity it speaks to millions. That this documentary soon becomes a rock in an avalanche and not an isolated bright star of representation is the hope.
83
The Playlist by Christian Gallichio
Adopting a fly-on-the-wall approach that prioritizes Muñoz’s subjectivity — sometimes to a fault — Mija is nevertheless a personal and sincere portrait of Muñoz’s struggles, and her ability to adapt in the face of changing social and professional upheavals.
65
The film’s best scenes are, in a way, the flip side to its weaker ones: the closeness between Castro and her subjects lessens their objectivity but strengthens their intimacy.
80
Though Mija finds a powerful emotional core between these two young women, it feels somewhat incomplete.
75
Mija weaves a more nuanced emotional tapestry than is typically seen in immigration stories like this one. Yes, sadness and fear are present. But gratitude, resentment, guilt, stress, hope, and excitement are also essential to Doris’ story, her family’s story, and the Mexican-American community at large.
65
Mija captures the true essence of everyone involved, and nothing appears to be falsified or altered for false dramatics.
90
Castro’s debut feature deals with heartache and vulnerability but also shimmers with joy and genuine insight.
25
San Francisco Chronicle by Mick LaSalle
Ultimately, “Mija” fails almost totally, and two main things tank it: (1) the lack of complete access to the subjects, who should have been grateful for the exposure, and (2) too much collaboration between the director and her subjects. There are documentaries and there are promotional films. A documentarian needs to keep those categories rigorously separate.