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By the next day, he has died. At a single stroke, Marina’s whole existence is pathologised and criminalised. She's not just treated as a second-class citizen. She is visited at work by a detective (Amparo Noguera) whose due diligence slides into harassment and humiliation. © 2020 Vox Media, LLC. It's a stunning shot, filled with poetic and metaphoric resonance. The grief that Marina ought to descend into is cut short by the arrival of Orlando’s family, most of whom do not approve of her or her relationship with their late relative. The complications extend to the title. (Courtesy of Sony Pictures Classics) This article is more than 2 years old. Rated R
The drama lingers as Election Day approaches. We see a glimpse of this early on, when he meets her at a gig at a hotel bar, singing a sassy salsa number and winking at him from the stage.
In fact, an hour and three quarters had gone by.
She is rarely absent from the screen and Lelio’s camera seems always to be catching her character in the act of transcending loneliness, heroically defusing the internal opera of pain, rising above the thousand petty little indignities and hostilities that the world now wishes to add to the ordinary agony of her bereavement. She is usually alone in the frame. It would be absurd to minimize the political impulse and import of “A Fantastic Woman,” or to universalize its specific, precisely observed depiction of injustice. The restaurant where Marina works is decorated with sprawling illustrations of pterodactyls and triceratops, and in a triumphant scene she becomes a ferocious dinosaur too, stomping on Bruno’s car in an impromptu … But what Marina, and we by proxy, keep coming up against is not how fantastic she is, but rather how extraordinary she is. Vega shows us why.
Orlando’s ex-wife icily refers to Orlando’s love for Marina as a “soap opera” – and Almodóvar might have responded far more directly to the soap opera of the situation if he had been directing.
The cops arrive to question her. It may be satisfying to see Marina make a triumphant eulogy speech and win over Orlando's family, but "A Fantastic Woman" is not interested in anything that simplistic. It’s clear that, at least during the time we spend with her, Marina doesn’t have any desire to be fantastic, and Vega spends most of the film locked down with a kind of permanent poker face. She knew who she was with Orlando. Sebastián Lelio’s Oscar-nominated film A Fantastic Woman is a sublime study in the exalted ordeal of grief. It is also as gripping as any procedural crime thriller, and cops and police doctors do play a role. S ebastián Lelio’s Oscar-nominated film A Fantastic Woman is a sublime study in the exalted ordeal of grief. The emotional and political issues at stake here turn on the adjective in the title. This isn’t Lelio’s style. Co-written and directed by the up-and-coming Chilean filmmaker Sebastián Lelio --whose 2014 breakthrough hit “Gloria” wowed crowds at Boston area arthouses for weeks on end back — this is a strikingly well-acted portrait of a character most movies would confine to the margins.
But Mr. Lelio and Ms. Vega are less invested in her symbolic status than in her living presence.
Marina sees Orlando everywhere, coming back to haunt her.
The best I can hope for my trans friends is that “A Fantastic Woman” will soon seem just as obsolete. She walks the streets of Santiago. She walks down a street against a fierce wind and this becomes a surreal, dreamlike tableau.The comparison has been made with Pedro Almodóvar, and that holds up to some extent. She has a charisma that defies pity and a sense of poise that can be both intimidating and heartbreaking. "Complicated," she says at one point, "quantum physics complicated." He collapses and falls down the stairs as Marina tries to take him to the hospital. Sonia speaks with such calm confidence, such chilling certainty, it pulls the entire film—and the problem it portrays—into sharp focus.
Okay, which one of you virgins lit the candle again? Orlando had bruises on his body after falling down the stairs during the aneurysm, and there is suspicion of foul play. Daniela Vega is wonderful as a young trans woman whose life is turned upside down when her older cis lover dies in ambiguous circumstances, Thu 1 Mar 2018 10.30 EST
The History of Musicians Saying ‘Hell No’ to Donald Trump Using Their Songs. Marina (Ms. Vega), a waitress and sometime cabaret singer who lives in Santiago, Chile, seems at first to fulfill the romantic fantasies of her lover, Orlando (Francisco Reyes). Vega plays Marina, a young trans woman in the Chilean capital Santiago; she is a waitress and club singer.
There are moments of the fantastic, though, primarily a dazzling dream sequence at a club, where Marina envisions herself suddenly lifted out of her bedraggled state, clad in sparkling tinsel and backed by an ensemble of dancers. And in the course of a series of ordeals that begins with Orlando’s death, many of the people Marina encounters will question whether she’s really a woman at all.
Psychologically astute and socially aware as the film is, it is also infused with mystery and melodrama, with bright colors and emotional shadows.
I’ve been trying to sort out the title of A Fantastic Woman, a drama by Chilean director Sebastián Lelio. His ex-wife and son do not conceal their hostility, and she suffers threats and assault from a brutish family member. It's an amorphous world, the borderline between night and day, consciousness and unconsciousness, is blurred.
She is not entirely unlike the widowed Mrs Kennedy in Pablo Larraín’s Jackie, and Larraín is credited on this movie as producer.
The uproar over “Bonjour Hi” ultimately proves the sketch’s main joke: Canada has some really slow news days. She lies naked in bed, knees bent, with a round mirror placed over her genital area.
She’s a magnificent camera subject, with a sharply angular face offsetting eyes that convey tremendous depths of pain. Or not exactly.A Fantastic Woman reminded me of Lelio’s excellent previous film Gloria: also about female loneliness, about a relationship with a silver-fox older man, about difficulties with grownup children, about the continuous low-level battle to exist. They are still clearly baffled and appalled that Orlando was involved with her, and the film is sympathetic to their anguish and confusion without excusing their hostility. Doctors and security officers use the masculine pronoun to refer to her, and pepper her with prying, suspicious questions. She's the one who really allows us into the experience of the film, and of the character.
It was there all along of course, but it didn’t matter as long as her relationship with Orlando protected her. The film periodically moves with absolute confidence from a straightforward representation of Marina’s situation into her inner dream state.
Sometimes she is viewed from behind, sometimes she is viewed from across the street, the camera moving with her as she walks past a construction site, or along a block of storefronts. And so Marina’s terrible nightmare continues.
Marina is struck with sadness, but also doesn’t know what to do. She is not granted the respect a grieving wife or girlfriend would receive. Officials insist on calling her “Daniel” and the police think that Orlando got his wounds from Marina, but scrupulously take into account the possibility that she may have been defending herself – like many another trans woman being abused – so she has to report for a medical examination, in an excruciatingly ambiguous state of victim or assailant.
When Orlando (Francisco Reyes) enters a rooftop supper-club in Santiago at the beginning of the film, he can't take his eyes off Marina (Daniela Vega), a striking young vocalist who's crooning lyrics about throwing her boyfriend out with the garbage because, she sings, his love "is like yesterday's newspaper.".
My work here is done. I just wish Vega and Lelio let us in a little more to see her as an individual, aside from the hostility she encounters.
A scene in a club where Marina tries to cauterise her wretchedness morphs into a mysterious choreographed spectacle. Marina, too, tries to give them room to grieve, but the distraction they demand turns into something else: the denial of her love for Orlando and her right to mourn him.
The tenderness we see her share with her boyfriend at the beginning of the film is sharply missing from the rest of it, which leaves us with an often frustratingly locked-off subject. But then Orlando suffers an aneurysm and dies on the operating table after a panicked Marina drives him to the emergency room.
In Sebastián Lelio's new film "A Fantastic Woman," these breathtakingly cruel words are said to Marina (Daniela Vega), a trans woman in mourning for her dead lover Orlando (Francisco Reyes), by Orlando's ex-wife Sonia (Aline Kuppenheim). Here was a movie that contained at least as much suffering as “A Fantastic Woman” (probably a lot more) but celebrated the indomitable spirt of its protagonists instead of embalming them in decency. Each year, Hollywood seeks to present its best image to the world during the Oscars, and here’s the kind of picture everyone can feel good about getting behind. Director Sebastian Lelio often makes films with strong, complicated women at their centers — his 2013 awards-circuit hit, Gloria for instance. CIFF 2020: Black Perspectives Program Highlights Diverse Voices, CIFF 2020: The Roger Ebert Award Returns to Champion New Voices, Immerse Yourself in Martin Scorsese’s World Cinema Project #3. But that night, things take a terrible turn. Now that he is gone, she questions everything. Sensational or fake? The Oscars missed the chance for … Log in or link your magazine subscription, Cardi B Really Didn’t Mean to Post That Nude, Sacha Baron Cohen Hid in a Bathroom for 5 Hours to Prank Mike Pence, A Wake for Toots Hibbert, Reggae Forefather. A sympathetic-seeming female detective coerces her into a degrading physical examination; after she softens enough to offer her sympathies to Orlando’s ex-wife Sonia (Aline Küppenheim), Sonia snaps and calls Marina and her relationship a “perversion.” The most horrific sequence comes at the hands of Orlando’s boorish son, and it leaves her and us with a profound sense of despair. In the middle of the night, after a sumptuous and indulgent romantic meal, Orlando wakes up next to Marina, feeling desperately ill and disoriented.
A chimera, that's what I'm seeing." Poor panicky Marina prepares to drive him to hospital but leaves him alone outside on the landing of his apartment building while she flusters about getting her things. Similar to his 2013 film "Gloria," where a … She is barred from his funeral and threatened with eviction from the apartment they shared.
Matthew Herbert’s score is dreamy and ebullient, suggesting a rich inner life that we long to see more of. Lelio shows how this grim event brings all the conformism and cruelty of society into vivid focus.
Almodóvar’s celebration of alternative sexualities arguably puts him way ahead of his time as far as the current debate about trans experience is concerned. A Fantastic Woman is a brilliant film: a richly humane, moving study of someone keeping alive the memory and the fact of love. Then Orlando wakes up in the middle of the night, dazed and short of breath. A Fantastic Woman can be gut-wrenching at times, both in its depiction of crippling loss and in its illustration of the struggles of living as a trans person in a merciless world. That most of the time her fears are justified doesn’t help matters.
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