The Maid
is a movie starring
Catalina Saavedra, Claudia Celedón, and Mariana Loyola.
A drama centered on a maid trying to hold on to her position after having served a family for 23 years.
Gaspar is a young, lonely cinematographer. Unable to deal with his sister and sick grandfather he spends his time with Susana, an actress working on a opera. When he meets Alvaro, an ... See full summary »
Isadora (Belgica Castro) and Enrique (Alejandro Sievking) live a comfortable life. They have a modest yet elegant apartment in Santiago's old downtown district complete with a lovely ... See full summary »
During the almost war between Chile and Argentina during the 70's, a Chilean patrol is lost in the limit whit Argentina. Soon they find that an Argentinean patrol is near them in the same ... See full summary »
Director:
Alex Bowen
Stars:
Nicolás Saavedra,
Erto Pantoja,
Miguel Dedovich
A young and excentric radio DJ airs a successful program in which diverse calls come in from anonymous listeners, who reveal their love stories, all charged with mix-ups, disputes and passion.
Director:
Cristián Galaz
Stars:
Roberto Artiagoitía,
Daniel Muñoz,
Lorene Prieto
A group of parents who have gathered to debate the sexual education schooling of their fourth grade children are forced to re-examine their own views of sex.
At a house party, a handsome man wanders around catching up with friends he has not seen for some years. A travel writer now based in Berlin, Andre appears to be living an exciting ... See full summary »
Director:
Matías Bize
Stars:
Santiago Cabrera,
Blanca Lewin,
Victor Montero
Based on true events, involving powerful Catholic priest Fernando Karadima, who committed crimes of child abuse and pedophile between 1980's-2000's. The struggle of his victims, to be able to reveal the truth and look for justice.
Director:
Matias Lira
Stars:
Luis Gnecco,
Benjamín Vicuña,
Ingrid Isensee
Daniela, raised in the bosom of a strict Evangelical family and recently unmasked as a fornicator by her shocked parents, struggles to find her own path to spiritual harmony.
Director:
Marialy Rivas
Stars:
Alicia Rodríguez,
Aline Küppenheim,
María Gracia Omegna
The story of how a maid called Raquel, who has worked for over 20 years in one affluent Chilean household, rediscovers herself. La Nana is a microcosm of Latin social hierarchy while also focusing on one woman's journey to free herself from a mental servitude of her own makingWritten by
Elephant Eye Films
Sebastián Silva concocts a film that would have tickled Freud and Karl Marx too. Without much of a heavy hand, the perils of the class system create an unusual tension for modern American audiences. We see the "suffering" of a domestic worker, Raquel. But with the current controversy of Latin American domestic workers in the U.S. as well as North American movies audiences programmed to unhappy oddballs pulling out the automatic weapons to exact revenge expectations the film sets-up are not ever realized. This is a character study of a woman, played with convincing and unnerving power by Catalina Saavedra, who has no emotional life outside the family she serves. They don't abuse her, but they have no understanding of her deep attachment to them, and we enter the story as things begin to fray.
Raquel is moody and has resorted to passive-aggressive behavior in dealing with the family. It's her birthday and she won't come into the party prepared for her because, she says, she's embarrassed. In fact, she's in control of everyone. It's a natural outcome of long-time maladjusted servitude where domestics are privy to the most intimate knowledge of family life, often knowing "secrets" about one family member that others don't know. But Raquel is near breaking because no one has ever considered her own emotional needs and unconsciously, she senses, "Life is short." Sensing the need for some kind of change, the mother decides to employ a second domestic to "help" Raquel, and the stage is set for high drama. Raquel takes offense that she's considered inadequate, but she too hasn't a clue as to what's ailing her. It takes several assistants before someone arrives and recognizes the needs that Raquel has been not only been deprived of, but also she's deprived herself. This second maid, Lucy, played with terrific abandon by Mariana Loyola is the key to the film. Lucy is everything the rest of characters aren't. She's fulfilled and happy. She knows herself and if something's lacking, she calls it out.
What's surprising is the filmmaker trusts the characters and doesn't pander to the audience's need for farce or melodrama. A scene where a frustrated second maid is locked out of the house by Raquel and winds up climbing a trellis to reenter seems perfectly natural. And while the emotional "breakthoughs" that Raquel will or won't make are modest, and there's no overt revolution by the domestics here, the change in Raquel from the beginning of the film to the final scene is substantial and beautifully played by Saavedra. Whether American audiences can stick with the modest goals that Sebastián Silva sets up is questionable, but the charm he finds in such a bleak situation is rare and always enjoyable.
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Sebastián Silva concocts a film that would have tickled Freud and Karl Marx too. Without much of a heavy hand, the perils of the class system create an unusual tension for modern American audiences. We see the "suffering" of a domestic worker, Raquel. But with the current controversy of Latin American domestic workers in the U.S. as well as North American movies audiences programmed to unhappy oddballs pulling out the automatic weapons to exact revenge expectations the film sets-up are not ever realized. This is a character study of a woman, played with convincing and unnerving power by Catalina Saavedra, who has no emotional life outside the family she serves. They don't abuse her, but they have no understanding of her deep attachment to them, and we enter the story as things begin to fray.
Raquel is moody and has resorted to passive-aggressive behavior in dealing with the family. It's her birthday and she won't come into the party prepared for her because, she says, she's embarrassed. In fact, she's in control of everyone. It's a natural outcome of long-time maladjusted servitude where domestics are privy to the most intimate knowledge of family life, often knowing "secrets" about one family member that others don't know. But Raquel is near breaking because no one has ever considered her own emotional needs and unconsciously, she senses, "Life is short." Sensing the need for some kind of change, the mother decides to employ a second domestic to "help" Raquel, and the stage is set for high drama. Raquel takes offense that she's considered inadequate, but she too hasn't a clue as to what's ailing her. It takes several assistants before someone arrives and recognizes the needs that Raquel has been not only been deprived of, but also she's deprived herself. This second maid, Lucy, played with terrific abandon by Mariana Loyola is the key to the film. Lucy is everything the rest of characters aren't. She's fulfilled and happy. She knows herself and if something's lacking, she calls it out.
What's surprising is the filmmaker trusts the characters and doesn't pander to the audience's need for farce or melodrama. A scene where a frustrated second maid is locked out of the house by Raquel and winds up climbing a trellis to reenter seems perfectly natural. And while the emotional "breakthoughs" that Raquel will or won't make are modest, and there's no overt revolution by the domestics here, the change in Raquel from the beginning of the film to the final scene is substantial and beautifully played by Saavedra. Whether American audiences can stick with the modest goals that Sebastián Silva sets up is questionable, but the charm he finds in such a bleak situation is rare and always enjoyable.