Madeinusa

A Peruvian misery fest, boringly and beautifully presented. Solid C.

When a young traveler from Lima by way of Siemens Perú finds himself stranded in the mountain village of Manayaycuna during its religious festivities, a faith like many in New World Hispania melding indigenous rites with Catholic law, he becomes entangled in a web of odd traditions and carnal temptation not seen on the Discovery Channel. That temptation is a shy, songful, very pretty girl on the cusp of womanhood named Madeinusa Machuca, chosen by elders to play the Immaculate Virgin in a series of processions, an honor resented by her bossy younger sister but delighting her dad, also the mayor, who, during "Holy Time" when God is dead and sins not seen, hopes to deflower his first born, a plan that hinges on detaining the handsome intruder who's no designs on the daughter but has not the foresight to see the trouble ahead.

Directed by its writer, Claudia Llosa (b. Lima), Madeinusa is a beautiful movie in many respects, starting with its title character. The face of a model, voice of a child, we're introduced when she opens her box of charms, precious "things" to keep the cold out, dreams in (earrings of a mom long gone are most prized), reminiscent of Scout's version in Mockingbird (62). Cinematographer Raúl Pérez Ureta who, along with Llosa (s/p), would win the Cine Ceará trophy for their respective efforts, includes the Andean Mt grandeur and colorful holiday preparations to enhance this rare view into a world austere & absent modern conveniences yet largely free of commericalism, virgin territory in more ways than one (no AT&T Pepsi). In other respects, Manayaycuna is quite ugly, a too simple, rat infested, male dominated enclave, its foul features treating newcomers as plague and attached addendum to Rome's code that permits excess revelry & deviants their day: dead disrespected (corpse), daughters defiled, prized property stolen with impunity (men pigs), prostitutes paraded for chieftans, not "gringos (racism)."

The actors, mostly unknowns, project authenticity, captivating all the while: Magaly Solier stars (b. Huanta) (Made: "I saw my name on your shirt; Sal: It's not a name; Made: It's my name"); Carlos de la Torre is Salvador, the interloper ("What a **** town!"); Juan Ubaldo Huamán bravely plays the father, he actually a capable mayor, and Yiliana Chong is the sister Chale, runner-up who spews venom like she were forty.

To the ending, I deny it because I don't believe it, an abrupt character reversal (Contact) of a girl who long understood hardship and loss yet had always maintained her hope. Why did the maker do it? Shock value (Vertigo), today's never ending push to empowerment, no matter the cost, or sought to placate with a human sacrifice those she expected to be offended by the first coupling. But I'm taking Father Obosi's advice to Carmela Soprano (Amour Fou): "try to live on the good." Yet, I'm compelled to order contrition: ten Hail Marys, three Our Fathers and dock it one star (3/4).

I can safely say that it was pretty difficult to follow the movie in the beginning, but man that ending was UNEXPECTED. Our main star MadeInUSA is a clever genius. MadeinUSA is a girl that got hurt by everyone. From her father to her sister. She tried to reach for HELP from Salvador, who REFUSED to help her when he could... So she made her way OUT from this hellhole, after being dug in for so long...

However, i do have some negatives with this movie: i don't think the singing scenes should of been as long as they were. Pretty sure we could of made that a bit shorter seems prolonged.

I see people calling this movie Racist; because our main star does not like its people that much. Can you blame her? Her father is an abusive monster, that is the major of the whole city, and nobody has done anything to help her.

For whatever reason this movie reminds me of the classic THE DEVILS. God has to watch us all the time.

Madeinusa is the story of a beautiful teenager who lives in a remote and small town, difficult to access. A place that preserves very peculiar traditions within a somber, unique and macabre community.

Meanwhile, preparations are underway for the annual ceremony, the most significant in the town. A young traveler arrives here who wants to document the celebration, a trip that will undoubtedly transform the destiny of its protagonists.

Set in the desert interior of Peru within a fictional community.

With excellent performances, careful photography and a bizarre aesthetic, the film is a well-achieved mix between the symbolism of Latin American magical realism and the suspense of American gore films, such as the 2000 maniacs (1964).

Claudia Llosa explained many times why she made this film (It doesn't matter if she IS Peruvian or not... anyway, she IS.

It's not a documentary. It's not a mockumentary. It's not a portrayal of reality. It's not a film to raise racial prejudices. It's not a film abusive of the people portrayed on it.

It's this crazy idea (a script idea that came out of a "dream") of what would it be like if a town (BTW: Manayaycuna actually means the place no-one-can-enter and is non-existent) believed that during three days there's no sin, since "God is dead".

Better approach it with the motto of "it's just a film, it's just a film"

It's a difficult film to watch, but, nonetheless, a work of fiction, so don't take it so personal. Some filmmakers in the world, and some writers -as I do, have found this film remarkable in many aspects.

When I read a comment calling names to whoever chooses to watch this film just for that decision... well, that person shouldn't be allowed to post here!