Parfum de violettes

"Yessica" (Ximena Ayala) is friends at school with "Miriam" (Nancy Gutiérrez) even though the two are really chalk and cheese. The latter is a more restrained lass whilst her friend is more of a boisterous creature. That might be because she lives with her mum and her step-dad and his son "Jorge" (Luis Fernando Peña). Now he's a total creep and makes an arrangement that will pimp out the young girl to his bus driving mate so he can earn some money for a pair of trainers! Despite the fact that she is taken from the street in broad daylight and assaulted on the floor of his bus, there is no effort made by anyone to bring the culprits to book as she, herself, is so embarrassed by the whole experience that she cannot tell anyone. Her rather toxic method of dealing with things is to become even more emotionally attached to "Miriam" and in so doing she starts to make problems for her friend that causes that girl's mother (Arcelia Ramírez) to intervene - and that makes the vulnerable girl even more so. This is quite a savage indictment on attitudes of sexual entitlement by a man whose treatment of the young girl is brutal and cavalier. He has no fear of retribution and as the young "Yessica" goes further off the rails the behaviour of the truly odious brother becomes quite sickeningly effective. That she is violently robbed of her innocence is tragic enough; the fact that she has no recourse to seek help, solace and/or legal redress is punchily portrayed here by a potent performance from Ayala and an unpleasant, under-your-fingernails, one from Peña. It's not a graphic film, but the message is writ large and offers a thought provoking critique of innate and obnoxious societal attitudes to sex.

Almost a new generation Italian neo-realist film minus the political commitment, plus a sense that there is more to suffering than poverty alone: decades of social fragmentation and of "me" ideology have left us all as closed as Leibnitzian windowless monads: packed everywhere, but incapable of any elementary form of communication.

The Italian neo-realists, more or less close to various forms of socialism, had here and there glimpse of (naive, as it was to be seen) hope into the "new man." No such feeling is present here. The sky has closed upon us and is not going to open anytime soon.

All in all, a superb, if terribly dramatic film. The final scene is an absolute masterpiece, hinting at unspeakable horrors directed towards the already beaten, raped, and victimized protagonist, with the exquisite restrain not to show them at all.

A great film, which takes on important themes (sexual violence among teenagers, the dissolution of family and social bonds, the apathy of society towards "inconvenient" realities) without puritan restrain but without unnecessary gore. Highly recommended.

"Perfume de violetas" is, by far, one of the best and most underrated Mexican films in years. The story is shocking and touching, the direction by Sistatch is marvelous and the acting is superb (just watch the two girls, they're wonderful). No more words. Just see this film. Four stars out of four.

I used to live in Mexico and this was definitely the best movie I saw there, and by far the best movie ever made on the life of the poor people of La Ciudad de México. Although Mexico to me is a very distinct place from the one described by the movie, it was shocking to see that these people living in true agony passed by the same places where I'd been and took the same bus as I did. It gave me a totally new perspective on my ride when I sat on that bus again the next morning. Life to most people on this planet is extremely cruel, but sometimes we seem to forget it, even if it's right beneath your very own eyes. Perfume de violetas opened my eyes; I think it would be good to remember that there are over 20 million people living in Mexico City, with the number rising by nearly 3000 every day, and that most people aren't even as well-off as Yessica, and definitely not as lucky as Miriam. Viva Mexico, eh!?!

After watching PERFUME DE VIOLETAS one wonder's if Mexican Cinema can go beyond portraying the sour and depressing stories of urban life. This is not the first entry of the "true life" story gender. Not withstanding looking at the film the cinematic process stands-out beyond anything else. The actresses are great, if one considers that this was their film debut, the surprise is even bigger, great work by the director. The photography also adds to the realm of desperation and reality, a careful camera work with saturated images and colors, changing the lighting and atmosphere between the homes of the two girls. Probably the low point of the film is the music use. It's so directed to the marketing of the soundtrack that make's you wonder if there was other consideration in its use. When the image and the song show the same thing then one or the other is overstating and therefore a waste. Good work and an appalling ending. Its going for the Oscar but probably will be left before the nominees, but it's worth watching.