PARPADOS AZULES (BLUE EYELIDS)
Mexico, 2007, 98 minutes, Colour.
Cecilia Suarez, Enrique Arreola, Luisa Huertas, Ana Ofelia Murguia.
Directed by Ernesto Contreras.
A small film about loneliness with two of Mexico's leading actors, Cecilia Suarez and Enrique Arreloa. It is a first feature from Ernesto Contreras and was written by his brother, Carlos, who took the idea from watching a television advertisement for a competition which had a trip for two as its prize and wondering what would happen to people who went on such a trip.
Marina is a loner who works in a uniform-making factory. She wins the annual prize of a trip for two to a Mexican beach resort but has no friends to ask to go with her. Her married sister wants her to hand over the trip to her (quite a harrowing scene) so that she and her wayward husband can mend the marriage.
In the meantime we meet a man, also a loner, who works in an insurance company, who is intending to buy an apartment. The two meet as the man remembers her from school days. She does not. When they go out, she impulsively invites him to go with her for the holiday.
Matters do not work out as we might have thought. They are attracted, perhaps a mutual dependence. However, they also cause pain to each other before a hopeful but uncertain ending.
Winner of the SIGNIS Award at Alba, 2008.
1.The quality of the film? A first film by the director?
2.The Mexico City setting, ordinary suburbia, workplaces, restaurants, apartments? The contrast with the beach resort? A feeling of realism? The musical score and the atmosphere for the two central characters?
3.The title, the symbol of the butterfly? The eyelids? The film within the film?
4.The opening, Lulita and her age, getting up, being made up? Her fictitious story about her past life, her father, her enterprise, the gift of sewing? The making of uniforms? The long decades of success in the garment trade? Her staff, the end of year speech? The prize? Marina winning it – and the glimpses of Marina, through the shelving, folding the uniforms, an isolated character, her surprise and delight?
5.Marina, living alone? Awkward and shy? Her winning the prize, the reaction? Her going to the travel agent, the conditions? Having somebody go with her? At home, not knowing who to invite? Phone calls, friends long gone? Her decision to ask her sister? Her going to visit her sister, the food? Her sister and the separation from her husband, demanding the prize for herself and her husband, her callousness and disregard for Marina’s feelings? Marina going home?
6.The introduction to Victor, his work in insurance, his visiting the house, Mercedes showing him over the house, trying to persuade him to buy, his budgetary caution? His not buying the house? In the restaurant, alone, his seeing Marina, introducing himself, the past, school memories?
7.Marina and her reaction, her admitting that she knew him when she didn’t? Her attraction towards him but her caution? The phone number? Her ringing him, his surprise? Their going out, her suggestion that he come on the trip, his acceptance?
8.The further outings, going to the film? The restaurant, their being moved from the table, his humiliation, outside, her wanting to leave? Their going home together, spending the night? Her rather formal manner in the morning, going to work?
9.The plan for the trip? Victor getting ready? At work, packing, the car? Her not being present?
10.Marina going on the holiday by herself, the explanation of all the benefits, being visualised? Her postcard to Victor, her apology, suggestion he meet her at the station?
11.Victor and his reaction to the card? His going, meeting Marina, in the car, the tension, his proposal? Their sitting in the car and the ending of the film? Certain or uncertain? The future?
12.The background of Lulita’s story, her maid, her ageing? The possibility that Marina could be like this in the future or not?
13.A satisfying drama? Presentation of lonely people? The possibilities of love despite the caution? The hopefulness of the film?
