A FANTASTIC WOMAN/ UNA MUJER FANTASTICA
Chile, 2017, 100 minutes, Colour.
Daniela Vega.
Directed by Sebastian Lelio.
Sebastian Lellio has made a number of interesting films, the controversial Sacred Family and the award-winning Gloria. He tackles a contemporary issue, gender, transgender. His title focuses on the central character, as female, and as admirable.
The central character is called Marina, played by Daniela Vega, herself a transsexual. She gives a very serious performance, affectionate in her relationship, dignified in her conduct after the death of her partner and the antagonism from his family, feeling the grief of the death of the partner – and an outlet in classical singing lessons and final performance.
The setting is Santiago, an urban setting presented as ordinary but detailed. The action takes place over two days.
We are introduced to Orlando, a 57-year-old businessman having a massage – and then going to a club where he listens to Marina singing. They go to his apartment and we realise that they are partners. However, he wakens during the night, ill and is rushed to hospital. He dies.
Given the title, Marina is a woman of some dignity, courteous to people, but upset by a policewoman coming to voice suspicions about Orlando’s death, bruises on his body, and wanting to examine Marina. But this is nothing compared with the animosity of Orlando’s family, his son coming to the apartment, verbally abusing Marina, taking the dog which was hers. Orlando is ex-wife is even stronger, demanding that Marina bring the car, forbidding her to come to the funeral, wanting to talk directly about the relationship, Marina and her trans-situation, but talking directly means talking insultingly.
There is the issue of Marina being excluded from the funeral, emphasising the sensitivities of the family, although Orlando’s brother is much more sympathetic and understanding.
The drama also offers examples of homophobia and anger, leading to violence, targeting people whom they do not understand.
Marina is also taking lessons in classical singing – and, at the end, this is a symbol of her coping and succeeding in the future.
Transgender issues are in the news at the present time, many people mystified by persons with difficulties in identifying their gender as well as having surgery to fortify their choice. In telling this story, with a sympathetic central character, audiences may have an opportunity for greater understanding if not empathy.
1. A contemporary story about gender identity? In the person concerned? In the response of others? Fears, abuse, acceptance?
2. Santiago, the city, the streets and buildings, the clubs, police precincts? Church, cemetery, crematorium? The musical score? The popular songs in the club? The operatic songs?
3. The introduction to the film, Orlando and his massage, his age, going to the club, the attraction to Marina? Filling in his background, his business, his former wife, his son, brother?
4. The story of Marina? First seeing her singing at the club, a low voice, the face, masculine, feminine? The attraction to Orlando? Dancing, going home with him, the sexual relationship,? His awakening in the night, ill, Marina and her steadying him, his falling down the stairs, to the hospital, emergency, discussions with the doctor and nurses, his possessions, his death, Marina running away, being brought back by the police?
5. The suspicions, the bruises on Orlando from his fall, alcohol, drug testing? The aneurysm? Marina ringing his brother, the sympathetic brother?, With the dog, Bruno entering, his bitterness, antagonism, ousting Marina? The resentment about her relationship with Orlando? Contact with Sonia, the ex-wife? Her wanting Orlando’s car, Marina bringing it, the discussion, Sonia and her antagonism, forbidding her to go to the funeral?
6. The detective, the first encounter with Marina, some respect but yet suspicion? Their experience? Marina not ringing back, the message, Marina going, interrogation, wanting the physical check, the doctor, the photos?
7. Marina and her grief, bearing herself with dignity, doing the right thing by people? Conscious of people’s condemnation, confidence in herself? Going for the singing lesson and the support of the teacher?
8. Going to the church, walking up to the coffin, the reaction, being ousted? The son and the family, taking her in the car, verbal abuse, wrapping her head, throwing her out of the car, her looking at herself in the mirror? The decision to go to the cemetery, the crematorium, the being able to look at Orlando’s body, the brother offering the ashes and her refusal?
9. Her sister and brother-in-law, picking her up, the comments? At home?
10. Back at the apartment, the dog returned? Facing a future?
11. The finale, the singing on stage, her determination?
12. Audiences and understanding issues of gender, transgender, surgery, physical and psychological repercussions, self-image, as understood and misunderstood by others?
