Affetti & dispetti (La nana)

Welcome to Raquel's world. She is a maid for an upper middle class family in Santiago, Chile, that has been with them for twenty years of joyless existence. Raquel is a loner showing signs of fatigue as her work never stops. She is up and running the household for Pilar, who certainly appreciates her work, as witnessed at the beginning of the story when she gathers her clan to celebrate Raquel's birthday. Raquel gets along well with all the family members with the exception of the older daughter, who can't explain the animosity she gets from the maid. Part of the problem appears to be the way Raquel perceives the girl to be pretty and full of life, while hers is going away fast. Other than being with this family, she has no life of her own.

Pilar decides to hire someone else to help Raquel with her demanding job. She is still going to be in charge, but that way, Pilar figures, it will give the maid some badly needed rest. Unfortunately, Raquel clashes with two of the prospective would-be-helpers, a young Peruvian girl, and an older woman, who tells Raquel not to love these people too much because they really don't appreciate what she does for the family. In both cases, Raquel ends up locking them out of the house and they get fed up. When Lucy, the third assistant, is hired, she proves to be a perfect foil to Raquel's objections. Lucy is a no-nonsense woman who really sees Raquel for what she; Lucy realizes that under the tough exterior, there is a good person waiting to emerge with the right kind of approach. Soon they end up striking a good working relationship and even traveling for the Christmas holidays to Lucy's parents home in the country.

Sebastian Silva, co-wrote and directed this Chilean film that has proved to be a favorite in the festivals where it has been shown. The film works because Mr. Silva knows well the intricacies of life with a housekeeper, something that in other countries is a rarity. The director had worked with some of the actors in the cast in his first film "La vida me mata". He shoots the film using a lot of close ups that shows plainly the emotions going on with the characters he presents us.

The best thing in the film is Catalina Saavedra, who as Raquel runs away with the picture. She is charismatic and even her mean spirited attitude toward the others can be explained in the way she measures herself against the rest of the family. Claudia Celedon has some good moments as Pilar, the lady of the house. Mariana Oyola is also effective as Lucy, the only one that really understood what the trouble was with Raquel.

An enjoyable film thanks to Mr. Silva and Ms. Saavedra.

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.

The Maid (2009)

In some ways this film is extraordinary. It's small, limited in its setting, and it has a slightly predictable inevitability. But it is so seeringly well acted and filmed with an honest small budget honesty, it's hard not to appreciate. It also deals with a huge issue in many countries--the use of household help, often now from other, poorer countries, and the ironies and sadness that goes with this class structure.

Catalina Saavedra is "the maid" in this, and like the leading role in the even more astonishing "The Hedgehog" we get inside this person's modest and seemingly invisible persona to really get them, or part of them, for a brief spell. It's moving--it made me cry--and revealing. It's not like we don't know that live-in maids lead an unfair, often unhappy life (which they disguise from their employers). But we aren't often faced with it so plainly.

This also is revealing about the standard of living in Chile, which is one of the two or three South American countries fully above the "third world" status you might think at first. The fact it did so well in the United States (earning half a million dollars) is not because it was a glimpse of a foreign impoverished country, but because it resembled so well the situation in American households. Those with maids.

See this? Yes, certainly. It has a simple cinema-verite style, not quite home movies but shot almost entirely inside the house in a shaky camera. The plot might not be enough for some viewers--after awhile it is what it is without a lot of complications. Or at least not complications we haven't seen before. What carries it is the sincerity of the performances, especially Saavedra's.

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.