Una Mujer Fantástica

I had expected 'The Square' to win the foreign language Oscar, and I had hoped 'On Body and Soul' would take home the award. I was wrong. Instead of the urgency of the former or the poetry of the latter, the jury chose the delicacy of 'Una Mujer Fantástica'.

Probably, the choice has been as much inspired by the subject of the film as by the cinematographic quality of it. 'Una Mujer Fantástica' is a plea for mutual understanding, tolerance and kindness. And at the same time a condemnation of bigotry, prejudice and brutality. It can't be seen without having to think about the wave of intolerance against all kinds of minorities currently sweeping western societies.

The fantastic woman who has given the film its title, is Marina Vidal, a woman in her twenties who is dating a businessman about twice her age. In spite of the age difference, they seem to be happy with each other. But it's not so much the age difference that is remarkable. Marina is a woman who has been a man before.

In the first part of the film, this is not an issue at all. It's only after her lover suddenly dies, that Marina's gender becomes something peculiar. The medical staff, the police and, above all, her lover's relatives treat her with utmost distrust and suspicion. They won't even let her grieve, or attend the funeral.

The film shows how Marina suffers from the way she is treated, and how she refuses to give in. She remains her proud self, and in the end gets what she wants: a decent goodbye to her deceased lover. The film doesn't fall into the trap of making the whole thing too sentimental. The director registers the events, with a certain amount of compassion, but without making a tearjerker of it.

This is not a groundbreaking movie. But 'Una Mujer Fantástica' is without any doubt a well-written, well-directed and well-acted drama, with an underlying message that's hard not to agree with.

The transgender heroine is a wonderfully complex, defiant and passionate character. One who keeps her poise and dignity in the most trying of circumstances.

She endures every kind of humiliation imaginable. And regardless of the story's sexual politics, Marina is the type of heroine that any audience will root for. Lelio conveys her courage and endurance to have her right to mourn for the man she loved. And to express her own independence.

I think a film like this needed someone very sensitive and attuned to the difficulty of the story, and thankfully that's what it achieved. Sebastian Lelio's voice comes shining through in each frame. I think the biggest factor that the film relied on was the actress, and Daniela Vega is really wonderful here. It's a glorious, but quiet and effective turn.

Sebastian Lello's 'A Fantastic Woman' is, quite simply, a fantastic film, albeit a depressing watch. Telling the story of a transsexual woman whose partner dies and the hostility she faces from his family in the aftermath, it brilliantly captures a life of continual (in the words of another reviewer) "micro-agressions", although some of them are not so minor. Interestingly, she seems to show most contempt for Gabo, the one member of the family who knows his relatives are treating her badly, but can't quite bring himself to do anything about it. There's a realistic, and horrifying believable, feel to this film; part of it's secret is that it's protagonist is not just a victim, but while she is in some senses admirable for how she has to deal with her situation, she is in no senses a superwoman: this is not a film with a celebratory air. It's all the better for it, a film to make one think about one's own prejudices and the difficult journeys we all must make through life, some harder than others.

"A Fantastic Woman" is Chile's submission to the Academy Awards for the category of Best Foreign Film. The film tells the story of a transgender woman, Marina, who is suddenly cast into a state of mourning after her older boyfriend Orlando died suddenly and unexpectedly. She must confront and come to terms with Orlando's immediate and extended family members as well, who are just as shocked by the tragic loss as she is but generally unaccepting of her gender identity.

Sebastian Lelio delivers a well-directed film that makes good usage of simple but exquisite technical and editing tactics. The acting in the film is quite strong throughout, and the script is also well-written. Daniela Varga's lead performance is excellent, as she portrays Marina with a genuine sense of melancholy. She is able to enable the audience to feel a deep-seated, full-throated sense of empathy as well--one which we can only wish the characters she interacts with during the film's duration could have towards her in return. The tone on display in the film is somber and very bleak, but distinctly and genuinely rooted in reality. Such tone is supported--and exacerbated (in a good way)--by the simple score and aesthetic qualities we see. The chronology of the film's narrative is rather bizarre, as is the juxtaposition of some scenes and brief interludes. Otherwise, this is a generally well-made film. 7/10