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The Heiresses
A withdrawn, middle-aged gay woman slowly inches out of the shadows of her dissatisfaction as she’s forced to navigate a life separated from her more outgoing partner of 30 years in Paraguayan writer-director Marcelo Martinessi’s intimate first feature, The Heiresses. Minor-key and subdued to a fault, the drama nonetheless builds emotional involvement by infinitesimal degrees through its acute observation of characters and social context and its ultra-naturalistic performances. The relative scarcity of female-centric queer cinema from South America should guarantee continuing interest from festival programmers following its premiere in the Berlin competition.
Men are entirely peripheral presences here, seldom heard and glimpsed only from circumspect distances or evoked in references to imperfect marriages or relationships. It’s tacitly acknowledged, however, that they are the architects of a national history of political, social and economic upheaval. The women in Martinessi’s film to some extent owe whatever resilience they possess to their marginalized status, their willingness to hold their own counsel. They traditionally have accepted the rewards of being part of a moneyed class, without any of the responsibilities for the imbalance of power.
Views: 822
Genre: Drama
Director: Marcelo Martinessi
Actors: Alicia Guerra, Ana Brun, Ana Ivanova, Margarita Irún, María Martins, Nilda Gonzalez
