Los Punks: We Are All We Have

Los Punks: We Are All We Have is a compelling documentary from 2016, directed by Angela Boatwright. It encapsulates a fascinating tale of an indie punk rock scene in southern California, a community animated by camaraderie, resilience, and some outstanding music. The film uniquely features non-professional actors such as John Alvarado, Gary Alvarez, and Nacho Corrupted who are actual members of the punk community and bring an authentic voice to the narrative.

The film begins in the backyard punk rock scene in Los Angeles, a vibrant tableau painted with graffiti, torn denim, and tattoos. This eclectic group of rebellious, free-spirited youths is primarily made up of Latinos from the wider Los Angeles area. Punk rock here isn't just about music; it's about community and kinship. It's about turning the extension of one's home into a mosh pit, charging a modest $5 at the door, and letting the music erupt until the LAPD arrives. From the explosive gigs in backyards to the quiet introspective moments in their daily lives, the film provides an intimate look into these youngsters' lives on and off the stage.

The influence of music is a powerful theme throughout Los Punks. The film explores the punk rock as a much-needed form of emotional expression for young people often sidelined in society. It investigates music's potent ability to offer individuals a sense of belonging, drawing parallels between the punk scene and a close-knit family. There is an undeniable sense of community and mutual support among the punk rockers, many of whom don't fit into traditional societal norms and seek acceptance within this chaotic subculture.

Director Angela Boatwright consciously avoids the glamorization of this lifestyle, choosing instead to deliver an honest portrayal of these punk rock musicians, showing the highs and lows, the struggles and the victories. The film explores various themes such as cultural identity, adolescence, community, and independence, primarily through the eyes of the aspiring young musicians in the scene. The solace and empowerment they find in this group paint a deeply affecting human story, combined with a powerful political and social undertone.

Among the leading figures in the film are John Alvarado, Gary Alvarez, and Nacho Corrupted, each bringing their own unique flavor to the narrative. John Alvarado hosts punk shows in his backyard, and his dedication towards nurturing this community is heartwarming. Gary Alvarez's story pulls at the heartstrings as he juggles his love for punk music with adult responsibilities, while Nacho Corrupted, with his infectious energy and passion, lends an artistic authenticity to the narrative.

But the human element of the film extends beyond the punk rockers to include their surrounding community. We see concerned neighbors and exasperated law enforcement officers, providing valuable context and adding additional layers to the narrative.

The film also features live performances that serve as visceral outlets of expression, allowing audiences to fully immerse themselves in the energetic field of this 'do-it-yourself' genre of music. The camera work is alive and in motion alongside the moshing crowds, capturing the raw energy often missing in larger venue concerts.

Moreover, the somber moments painted in Los Punks serve as stark reminders of the sociopolitical undercurrents that fuel the fire of this movement. Boatwright graciously leads us through the lives of these punks, giving a voice to the voiceless and stoking a debate on societal norms and their stifling consequences.

Los Punks: We Are All We Have is an evocative exploration of punk rock as a subcultural response to societal pressures. It brings to light a resilient community that thrives at the margins of society, championing the story of punk rockers, their trials, their triumphs, and their undying love for music. This gripping narrative, pulsating with electrifying performances, interlaced with deep human stories, offers a fascinating insight into a lesser-known facet of music culture.