At the heart of this new documentary is a fascinating subject, the Angulo family, whose parents have raised their seven children largely in insolation from the city around them (New York). It brings to mind films like Werner Herzog’s Jeder für sich und Gott gegen alle (The Enigma of Kaspar Hauser, 1974), and this idea of children raised away from any socialising influence — whether kept in isolation like Hauser, or raised in the wild by animals, or just cut off from mainstream society like the Amish — is a commonly recurring trope in fiction. So to have found a real-life example in the middle of such an enormous city is a coup for director Crystal Moselle, who has clearly filmed them over the course of some time.
The oldest of the children, Mukunda (their names are taken from Hindu scripture) is now 20, and he tells of how he first left their Lower East Side apartment on his own at the age of 15, and promptly got arrested for his choice of papier mâché mask. As it turns out he and his brothers (the youngest Angulo child, the daughter Visnu, is largely absent) have had much of their socialisation via films, so their dressing up and recreating the films (most notably those of Quentin Tarantino) is the hook that The Wolfpack uses for its poster and trailer. However, there are other questions that are soon raised, like the role of the family’s mother and father, the latter of whom is not particularly well-loved by his children it turns out. This is for good reasons, of course — from their point of view he’s kept them isolated for their whole lives and had controlled their access to the outside world — though the film’s underlying sadness is that his fear of the dangers the outside world poses are quite understandable at a certain level. Both parents after all had come from rural backgrounds and if they’d not been trapped by poverty into their current situation, one senses events might have turned out differently.
The attitudes of both the parents and their children are fleshed out over the film’s running time, as the parents must start to accept their children are coming of age and have a natural curiosity about the world outside. It’s never quite made clear how active a role Moselle herself has taken in this process, or at what exact point in their lives she entered, but there’s a sense a lot of the emotional maturation the film covers had already taken place. Moselle deftly structures her film, though, only slowly adding in the stories of the family’s mother and father. Whatever questions one might reasonably pose (I wonder about how the daughter feels she fits into the family’s dynamic, as just one example), it remains a compelling study of an unusual family dynamic.
Director/Cinematographer Crystal Moselle; Length 90 minutes.
Seen at Picturehouse Central, London, Sunday 23 August 2015.