La nana

La Nana (The Maid) was written and directed by Sebastiān Silva, and tells the story of a live-in maid working for an affluent Chilean family. The movie opens with Racquel (Catalina Saavedra) sitting alone in the kitchen eating a basic meal; whilst the family she works for dine in much more pleasant surroundings. After giving this first impression of an oppressed servant, Silva then gradually reveals the much more complex relationships which are at play, and Racquel, who has worked for the family for twenty-three years, is shown as more of a troubled member of the family than an employee. As the tagline says, "she's more or less family".

Racquel has no life outside of the family home where she has worked for so long, and is suffering a kind of mid-life crisis, causing her to become ill and clash with the family. The family try to help her by bringing in extra staff, which leads to some funny moments as she tries desperately to cling on to her position at the centre of the household. Eventually she makes a friend, begins to get a life outside the home, and disaster is averted.

The direction and cinematography are wonderful here; feeling at times more like documentary than fiction. Catalina Saavedra is utterly convincing in the lead role, and is well supported by all. There's very little music in this movie, but there is a theme song call AyAyAyAy which is entirely addictive. This is definitely worth a watch!

I just saw this at the Sydney Film Festival and enjoyed it very much. An up close and personal drama with nice comic moments about a live in housekeeper who works for wealthy family in Santiago. Catalina Saavedra in the lead role delivers a very strong performance as the shy and emotionally distant maid who literally doesn't have a life besides her role within the house.

There are some really fine scenes throughout this film as we slowly get to know the family and obviously Raquel the maid. I liked the fact that the family did not treat her like dirt and knew her value to the household.

A small character driven film with a warm heart and realistic touches. It was also nice to see the Director and Lead Actress (Sebastian Silva and Catalina Saavedra) live after the screening for Q & A's with the appreciative audience.

The Maid, or La Nana is a Chilean film that is hard to categorize. Raquel has served an upper class Chilean family for over twenty years, and when she becomes overwhelmed by the demands of the household, they hire another woman to help with the chores. Through a sequence of different pranks, which includes locking the helper out of the house, the assistant quits. It turns out that Raquel is territorial, and possessive of her employers.

The next prospect, an older, tougher woman is more difficult to intimidate, but the maid in charge manages to also make life unbearable for her and she gives up and leaves. Raquel believes that she is part of the family because of her many years of living with them and they, in turn, feel obligated to to take care of her.

The lead actress, Catalina Saavedra, is a plump, plain looking woman who will alternately make you feel sorry for her at one moment and then want someone to do the right thing and lock up this mentally unstable creature. She is outstanding and had me convinced that she is really nuts.

Both funny and sad, The Maid is an excellent movie.

This was one of the movies we saw at Sundance 2009. We found it to be an interesting portrayal of the relationship between a live-in maid and "her" family. The family portrayed was from Chile, and reflected the writer/director's actual family.

The maid shown in this film truly runs the household and has a strange power over the family. She knows what happens to everyone and how to sabotage them if need be. She has a love/hate relationship with most members of the family, some of it closer to hate more often than not. She also will not allow another maid to share "her" household, until she meets a certain someone. Since this is a realistic portrayal of Chilean family life, we found it fascinating to watch. Good job to all of the actors!

Sebastián Silva concocts a film that would have tickled Freud…and Karl Marx too. Without much of a heavy hand, the perils of the class system create an unusual tension for modern American audiences. We see the "suffering" of a domestic worker, Raquel. But with the current controversy of Latin American domestic workers in the U.S. as well as North American movies audiences programmed to unhappy oddballs pulling out the automatic weapons to exact revenge expectations the film sets-up are not ever realized. This is a character study of a woman, played with convincing and unnerving power by Catalina Saavedra, who has no emotional life outside the family she serves. They don't abuse her, but they have no understanding of her deep attachment to them, and we enter the story as things begin to fray.

Raquel is moody and has resorted to passive-aggressive behavior in dealing with the family. It's her birthday and she won't come into the party prepared for her because, she says, she's embarrassed. In fact, she's in control of everyone. It's a natural outcome of long-time maladjusted servitude where domestics are privy to the most intimate knowledge of family life, often knowing "secrets" about one family member that others don't know. But Raquel is near breaking because no one has ever considered her own emotional needs and unconsciously, she senses, "Life is short." Sensing the need for some kind of change, the mother decides to employ a second domestic to "help" Raquel, and the stage is set for high drama. Raquel takes offense that she's considered inadequate, but she too hasn't a clue as to what's ailing her. It takes several assistants before someone arrives and recognizes the needs that Raquel has been not only been deprived of, but also she's deprived herself. This second maid, Lucy, played with terrific abandon by Mariana Loyola is the key to the film. Lucy is everything the rest of characters aren't. She's fulfilled and happy. She knows herself and if something's lacking, she calls it out.

What's surprising is the filmmaker trusts the characters and doesn't pander to the audience's need for farce or melodrama. A scene where a frustrated second maid is locked out of the house by Raquel and winds up climbing a trellis to reenter seems perfectly natural. And while the emotional "breakthoughs" that Raquel will or won't make are modest, and there's no overt revolution by the domestics here, the change in Raquel from the beginning of the film to the final scene is substantial and beautifully played by Saavedra. Whether American audiences can stick with the modest goals that Sebastián Silva sets up is questionable, but the charm he finds in such a bleak situation is rare and always enjoyable.