Madeinusa

When this movie was premiered in Lima, there was an outrage in the media. Polls were run and showed a deep and neat divide among public. Almost half of moviegoers would call it shameful, pitiful, racist trash,etc. The other half would congratulate the production, the effort, etc. Very little in between. There is an obvious theme of Magical Realism trough the movie. And with a good knowledge of the true people of the Andean country towns it is mighty obvious that the whole tale is a fantasy, that could be based on urban legends and cultural misunderstandings. But nothing else. It's just that many Peruvians resent the thought that anybody outside would think that all Peruvians are like those in the movie. The foreigner to Perú must understand that there is a whole parallel culture alive in the Andes, that has survived the westernization of the capital and most of the coast region. But its not what we see in this movie. Not at all.

This is a fantastic tale. A grim fable. And it is very Peruvian. Full of details, that are easy to spot for the local, but obscure and weird for the foreigner. And that is right on the spot for the story. Because the male lead, being "limeño", belongs to the "other culture" and doesn't know better. This movie does not pretend to be pedagogic, nor documentary material. And it touches very sensitive matters in very weird ways. It's wicked. But the exotic town is out of this world. The male lead in the movie walks the town like a stumbling Alice in Wickedland. And it is what it is.

If they ever do the Hollywood remake, it can be made with a town that looks like an Amish camp, or something out of the Little House in the Praire, with a catholic touch, and tell this very same story with little changes. That would look like one of those Twilight Zone movies. And be enjoyed by the fans of such kind of movies.

In my humble opinion, this movie is far better than The Milk of Sorrow, by the same director and with the same main female protagonist. I just think that it was ignored in its moment, but deserves a look.

Not for the religious sensitive anyway. Catholics beware, ye have been warned.

But if you want to know how the real Perú is, come and visit. :)

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

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!

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).

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).