Clara Sola

In a world where films often compete in a sprint of special effects and high-octane action, "Clara Sola" chooses to meander through the woods at its own mystical pace, and what a delightful amble it is! Director Nathalie Álvarez Mesén takes us on a journey that's less about the destination and more about the sensory experience, like a leisurely walk through a Costa Rican forest, only with less risk of mosquito bites and more spiritual awakenings.

Our protagonist, Clara, played with the ethereal charm of a forest nymph by Wendy Chinchilla Araya, is a 40-year-old woman with the wide-eyed wonder of a child and the simmering rebellion of a teenager. Clara's journey of self-discovery, set against the backdrop of religious and familial constraints, is like watching a caterpillar turn into a butterfly, except the caterpillar is a middle-aged woman and the butterfly phase involves a lot less flapping and more sensual dancing with the forces of nature. The film's magical realism is so subtle, you'll find yourself wondering if that frog you just saw is indeed a prince or just a really good actor.

Let's not forget the cinematography! Every frame of this film is a love letter to the lush landscapes of Costa Rica, captured with a tenderness that makes you want to hug a tree or at least water your neglected houseplant. "Clara Sola" isn't just a movie; it's a 106-minute meditation session where you emerge feeling slightly more enlightened and with a sudden urge to adopt a horse. If you're in the mood for a film that gently tickles your soul rather than bombards your senses, give this gem a watch. Just a heads-up, you might find yourself spontaneously doing yoga poses by the end!

The debut by Nathalie Álvarez Mesén focuses on the woman's often unfair and unequal position in a deeply religious society. It tells a story of a sexual awakening and bitter resentment that comes from the rooted beliefs.

Besides spellbinding images it offers an intense emotional perspective of Clara (a role perfectly handled by Wendy Chinchilla Araya) emphasising the importance of freedom of sexual expression, of belonging and not-belonging, and of wide array of desires. Her niece, Maria, has everything that Clara dreams of. Joys of womanhood, sexual contact with a newcomer Santiago, and a relative freedom. Although Clara is obviously jealous of her niece's life, she is not blatantly clear about it, and this envy doesn't destroy their relationship which is full of mutual care, and to some extent also understanding.

One could spend lifetimes learning to see the world the way Clara does. Her intuition for the universe's hidden matrix allows her to vibrate along with its sound. She's attuned to the earth and the soil and is Mother to all the animals who share it. Every creature has a "secret name" that Clara can detect through nature's reverberations. Her distinct gaze suggests a far more piquant view of the world that offsets the rest of the film's conventionality. Her eyes are sunken and fervent; they seem to expose new beauty and meaning all the time. The film excels when we, too, are made to see through them.

This is the rather sad story of a middle-aged woman (Clara, Wendy Chinchilla Araya) living with her elderly mother in a rural Costa Rican village, as well as her dead sister's teenaged daughter. Clara is happy communing with nature and the family's horse and understands things through her quiet observations that others don't, and yet, she's mentally challenged, and seriously repressed. Her mother's idea of showing love and protecting her is to deny her a surgery the doctors recommend ("God gave her to me like this"), prop her up as one touched by the Virgin Mary to serve as a faith healer of sorts to the locals, and to put chili pepper on her fingers when she catches her masturbating. It's quite maddening.

We see Clara take steps to control over her identity and sexuality, but it's an uphill battle in this environment. Daniel Castañeda Rincón turns in a strong performance as he niece's boyfriend, who she becomes attracted to, but to director Nathalie Álvarez Mesén's credit, she never settles for easy moments of sexual awakening when lesser films would have done so. Araya channels a purity of soul in the lead character, while at the same time, somehow never idealizing her. It's not clear what she believes about all the Virgin Mary stuff, but she has an extraordinary connection to nature, with a spirituality that feels far more enlightened.

This is a solid effort all around, and the only reason for not rating it higher was how difficult it was to watch what amounted to a claustrophobic form of abuse. Certainly worth seeing though.

Clara Sola is quite a tour de force.

It is the first feminist movie I have watched in which the men (Santiago and Fran) are actually not toxic and mean at all. The social and religious norms are mostly enforced by the main female characters.

The film combines a political and sociological perspective with the esoteric beauty of magical realism. The spectator oscillates between contemplation, empathy and anger throughout the plot.

Clara Sola reminded me a little bit of Ixcanul and El Abrazo de la Serpiente. The main actress gives an unforgettable performance.