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Title: The Milk of Sorrow (2009)
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| Cast overview, first billed only: | |||
| Magaly Solier | ... | Fausta | |
| Susi Sánchez | ... | Aída | |
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Efraín Solís | ... | Noé |
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Bárbara Lazón | ... | Perpetua |
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Delci Heredia | ... | Carmela |
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Karla Heredia | ... | Severina |
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Fernando Caycho | ... | Melvin |
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Miller Revilla Chengay | ... | Melvincito |
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Spencer Salazar | ... | Jonathan |
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Summy Lapa | ... | Chicho |
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María del Pilar Guerrero | ... | Máxima |
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Leandro Mostorino | ... | Jhonny |
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Anita Chaquiri | ... | Abuela |
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Edward Llungo | ... | Marcos |
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Daniel Núñez | ... | Amadeo |
Fausta is suffering from a rare disease called the Milk of Sorrow, which is transmitted through the breast milk of pregnant women who were abused or raped during or soon after pregnancy. While living in constant fear and confusion due to this disease, she must face the sudden death of her mother. She chooses to take drastic measures to not follow in her mother's footsteps. Written by Pusan International Film Festival
Young director Claudia Llosa (Madeinusa) has won the Golden Bear and a dozen of other prizes around the world for her second work, The frightened tit, its original Spanish tittle.
Though the plot itself may seem awkward, the movie is a group of 95 minutes rich and beautiful images. The pearls, the potato, the dog, the wedding, the impoverished suburban Lima, everything is accurately directed and carefully thought by Ms. Llosa.
Fausta (outstanding Magaly Solier) is suffering from The frightened tit, an illness that she caught through her mother's breast-milk since her pregnancy happened during the 1980s and 90s terrorism and State violence in the Andes. Now in Lima, Fausta is afraid, she's put a potato in her vagina in order to protect her from being raped, and after her mother dies she finally has to deal with the real life and face her fears,starting to work in a high- class house as a made.
The plot of the movie is fictitious, but it lies on a cruel and past reality of Peru's modern history, combining it with a delicate halo of surrealism, magic realism and sometimes ironic humor. The image of the potato -all time Peruvian ingredient for cuisine- involves the subject of a war and a fear that affected an entire country, though our differences may not accept it yet. The scenes in Fausta's home are the opposite where she works: though the high-class house is in the same impoverished area (another reference to Peruvian social differences), over there is no gray, no dust: there are plants, color, life.
At the end, Fausta realizes that in the root of her fears is the solution of them. The movie, indeed, is presented as a cure for the unhealed wounds of a terrible and recent war that happened on Peruvian soil.