Una Mujer Fantástica (2017) Reviews

• A great movie, a great director, and great performances.

  claropa-295-8075242017-04-06

  It's hard to even talk about LGBT matters in a country like Chile, so is exactly right there the significance of Sebastian Lelio's work. The characterizations are so well performed by the actors and actresses, that you can feel the anger and frustration of Marina, the love that Orlando feels for her, the everyday struggle of Marina in a society that rejects her sexuality, the hate from Orlando's family, etc. Is necessary a movie like this, is necessary a more open-mind society, is necessary to stop discrimination, is necessary to stop the hate. A fantastic woman, is ready to show the audience that there is no differences between a transgender person and a heterosexual one, the strong main character of Marina, will make you feel her never-ending fight to gain some respect, and how bad we, as society, make her feel. Thanks to Sebastian Lelio for bring this taboo to the light. Excellent work.

• Moving, Confronting, but not without its flaws

  seige-hound2018-03-25

  A Fantastic Woman is a very simple film, far more simple than it initially appears. Essentially the story boils down to this: A transgender woman has to deal with the family of her lover after his sudden and unexpected death. The film deals with themes of transphobia and grief, and it explores those particular themes very well, in some very confronting and uncomfortable ways, but from a story and character perspective, this film often leaves a lot to be desired. Marina, the titular 'Fantastic Woman', is defined purely by the fact that she's transgender. This isn't a big flaw per se, as the film is explicitly about how the culture of Chile and the world at large responds to that fact, but she doesn't really have much character besides that. She's a singer, she boxes, and she's very driven to get what she wants, despite the high amounts of adversity she faces throughout the film. The driving force of her character is her desire to pay her respects to her dead boyfriend one last time, while his family refuses to give her that, seeing her as a shameful part of his final moments, best forgotten. She isn't given that much development besides that, and it leaves us with a very one, maybe two-dimensional character with no real flaws that have consequences within the story. However the main issue I have with the film is that it basically abandons several plot threads as it goes along. Early in the film, there is some suspicion of foul play surrounding the boyfriend's death and she, being the last person to be with him, is the prime suspect. However this is mostly abandoned after one particularly uncomfortable scene where she is forced to have a physical examination by the detective and a doctor, which after its conclusion is basically hand waved away without much further thought. It is not brought up again (to my recollection) as to whether she is still seen as somehow complicit in her boyfriend's death, or whether the police decided to abandon the case altogether. Another plot thread that seemed to be abandoned is the entire opening scene, where it establishes the couple's relationship before the man dies, where he mentions buying tickets to see a famous waterfall in 10 days time, but has misplaced the tickets. To my memory, she never finds the tickets or goes to the waterfall to do anything after the conclusion of the movie. It just seems like another missed opportunity for further development. I do want to make clear though, that I do think this film is still worth watching. Transgender characters are still relatively rare in film and television, and even when they do pop up every now and then, they are often portrayed by non-transgender actors in heavy makeup. However Daniela Vega is herself transgender, and she plays the role, limited as it is, incredibly well. The cinematography is also quite beautiful, and there are several visual setpieces that looked great (while not really serving much purpose to the plot) It's definitely something worth watching on the big screen, but I probably won't put it on for a second time.

• An average film with a few plotholes

  s-japiashvili2018-11-24

  I was excited to watch this movie, but unfortunately, I was disappointed. A few scenes seemed forced and not believable which ultimately ruined it for me. 1. Why would Marina leave her boyfriend alone outside and go back in the room when she clearly saw he was sick? 2. Why was she acting all mysteriously and not answering the questions of the detective clearly? That could have saved her from the trouble of having to show her naked body to the detectives. And many more... The acting was good, though

• Glorious. My favourite of the London Film Festival so far

  rick_72017-10-09

  This is really, really good. (opens a can of wasps)I'm always struck by the sky-high ratings on IMDb for bad LGBT movies, and wonder if it's attributable to a) the comparative paucity of these films, meaning that we should celebrate those we get, regardless of their technical or artistic deficiencies (the extension, I suppose, is the tribalistic mindset this engenders, in which you can't judge them as bad films, as they're not just films); b) my lack of insight into what these films should be doing in relation to their audience and LGBT issues in 2017.(/can of wasps) Anyway, no such ruminations necessary on this one, it's bloody brilliant: a dazzling, poetic, sometimes dream-like Chilean film about a trans woman (Daniela Vega) trying to hold it together – and reach some point of resolution – after the death of her boyfriend. I should mention that his family aren't helping. Vega has the most fascinating face and the camera makes the most of it, not least in a dazzling nightclub sequence that moves from pain to sensuality to a fantasy dance number, but there's such depth to her characterisation too, and the film's refusal to give her easy, sassy victories is uniquely satisfying, grappling profoundly and humanely with issues that are both specific and universal. The effect is of a Dardennes story adapted by Almodovar, but I haven't seen anyone like Vega before. I'm not sure she can really sing classical (the best use of 'Ombra mai fu' is now and forever in Humphrey Jennings' seismic short film, Spare Time, Handel fans), but the rest of the music's a treat, with British composer Matthew Herbert delivering an audial dreamscape that like the script, photography and performances serves to conjure a very particular mood.

• Nice atmosphere but Chilean director's symbol of transgender victimhood is a one-dimensional character

  Turfseer2018-02-08

  Una mujer fantástica (A Fantastic Woman in English), is director Sebastián Lelio's Academy Award nominated entry for the Best Foreign Language Film from Chile. It stars Daniela Vega as Marina Vidal, a transgender waitress who has recently moved into an apartment with her boyfriend Orlando, a textile business owner, thirty years her senior. The film begins grippingly as Orlando suddenly collapses in the bedroom after some lovemaking and is rushed to the hospital by Marina. There he expires from an aneurysm. What will happen to Marina? At first, with a pulsing electronic rock film score, A Fantastic Woman feels almost like a film noir as Marina becomes the subject of a police investigation into Orlando's death. But instead of finding out more about Marina and what makes her tick, the film's scenarists are content to present her as a heroine, courageously fending off those who ostracize her due to the deep prejudice against transgender people in contemporary society (in this case Chile). In addition to being harassed by the police, Orlando's ex-wife will not allow Marina to attend his wake or funeral and Orlando's brother wants her out of his apartment immediately. The brother has also dognapped Diabla, a German Shepherd whom Marina has bonded with during her relationship with Orlando. The harassment reaches its apex when the brother kidnaps Marina and drives her around as his anti-gay pals tape her mouth shut with duct tape. Fortunately she's released by the thugs and eventually is able to get Diabla back (we don't actually see how but Orlando's other brother, Gabo, appears a tad bit more sympathetic and may have helped her). One keeps asking where is this all going and there is a mystery of some of Orlando's keys connected to a locker at a sauna which the deceased businessman used to go to. Perhaps it's those missing misplaced vacation tickets of Orlando's which we find out about at the beginning of the narrative-but unfortunately no, those are what you might call a pseudo-MacGuffin. Marina ends up finding (SUPER SPOILERS AHEAD) nothing in the locker! Lelio's mistake is to put Marina up on a pedestal as a symbol of victimhood for transgender people as well as making her into that (previously alluded) courageous heroine. We find out next to nothing about her background (except for some brief interactions with her sister and brother-in-law) and it's clear Lelio doesn't know how to turn her into a complex character. Had he done that, then perhaps she would have some bad characteristics mixed in with the good. While Lelio nobly offers up an impressive and atmospheric visual palette, stands up for all transgender people and in doing so, creates a welcome plea for tolerance, it's simply not enough to craft a requisite compelling protagonist.