This drama from Chilean director Sebastián Lelio opened here on the same weekend as it triumphed at the Oscars in the best foreign language film category. With its story of a transgendered woman struggling against bigotry and discrimination, it is easy to see why it’s awards material. Whether it deserved the Oscar ahead of its rivals I can’t say, as per usual, most of the titles in contention have not been released here yet, but it does have a lot to recommend about it.
It stars Daniela Vega as Marina, born male but living as woman and in a loving relationship with an older man, Orlando (Francisco Reyes). When Orlando suddenly dies, Marina’s chance to grieve and comes to terms with her loss is severely hampered by the hostility of the authorities, Orlando’s ex-wife Sonia (Aline Küppenheim) and son Bruno (Nicolás Saavedra).
The film is, for the most part, a success is largely down to Vega. Her performance of a woman who is frightened but determined is revelatory for someone so new to acting. She dominates the screen and keeps the film more than watchable throughout its running time. The screenplay was written by Lelio in conjunction with Gonzalo Mazo and there are some well-written confrontational scenes between Marina and Sonia, with initially an air of false civility masking the tensions lurking beneath the surface. To my surprise, I also enjoyed the more fantastical moments such as when Marina tries to walk against a strong wind, and especially, a dance number in a nightclub.
Much less successful are the scenes between Marina and Bruno (who is too much like a cartoon bad guy). Also, there are plot stands that go nowhere, such as Marina’s brief abduction, and particularly, an extended sequence involving her trying to locate Orlando’s locker at a local sauna.
Despite the flaws, Vega’s excellent portrayal of a woman dealing with her grief in the most trying of circumstances make this a notable film.
Rating: 7.5 out of 10