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Women, mournings, doors and windows

Women, mournings, doors and windows

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The death of a grandmother and a white house in Buenos Aires that seals the mourninig, spread throughout every inch of space. In a cold circus with doors and windows that simultaneously open and close memories, blocks and human relationship. Only three granddaughters remain to live their lives and a period of transition.

With an atmospheric and claustrophobic point of view which represents a pivot of a microcosm based on a single location, in the Swiss-Argentinian movie Abrir puertas y ventanas director  Milagros Mumenthaler (born in 1977) manages a diversified trio of female characters to lead them – each one from her own perspective – towards a comparison which does not give shortcuts and offer them the rawness and the absences of a new reality.

Between silences and visual glimpses that animate a series of unsolved recriminations, jokes and inhibited feelings. Also because, under the hard gloss of nostalgia, the death of the grandmother detonates many unspoken words which stagnate on the family's premises, making them emerge little by little in all their viscosity.

And so, if round and crusty Marina (Maria Canale) tries to take charge of the household, reconciling everything with her studies, the other two, Sofia (Martina Juncadella) e Violeta (Ailin Salas) follow radically different paths to elaborate the loss. While the first lingers continuously in appearance and clothes, the second one slips in lonely apathy interrupted by the mysterious visits of an older man.

At the beginning of Fall, Violeta will suddenly disappear, with no explanation and leaving only a note on the table and a phone call from the airport; the season of their affections will have to cross a corridor full of misunderstandings which will be even more textured.

Lorenzo Buccella

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