Meditations on what it means to be a woman who is neither a wife nor a mother in modern day Bolivia as experienced by Eugenia, a not-quite-young, not-quite-middle-aged woman endeavoring to ...
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Meditations on what it means to be a woman who is neither a wife nor a mother in modern day Bolivia as experienced by Eugenia, a not-quite-young, not-quite-middle-aged woman endeavoring to find herself after leaving an abusive relationship.Written by
Eugenia is shown reading a Spanish language copy of Simone De Beauvoir's "The Woman Destroyed". The book is a collection of short stories, each about a woman past her youth experiencing a crisis of identity, very much like Eugenia herself. See more »
There is not much in this movie related to Bolivia's reality or history except for some political posters in the background. Eugenia is an educated thirtysomething; midway through the movie she is seen reading Simone de Beauvoir's La Femme Rompue (A Woman Destroyed) in Spanish translation. She has decided to end her marriage and move to Cochabamba, where her father lives.
Before her departure, she has a conversation with her mother, who is educated as well and is reading the novel Crítica de las Armas (a Criticism of Arms) by Argentine writer José Pablo Feinmann. Eugenia's mother is also doing some writing of her own. The conversation is conducted using "vos" for "you" instead of "tu". This form of address is used mainly in Argentina and Uruguay but also in the southeast of Bolivia.
In Cochabamba, Eugenia has to come to terms with his father's second (and much younger) wife and their son. She enrolls in culinary school and tries some odd jobs like makeup artist in a transvestite nightclub. She is offered by a very dubious indie filmmaker a lead role in a low budget movie about Tania (Tamara Bunke) who fought alongside Che Guevara during the Bolivian insurgency in 1966-1967. All the while, Eugenia tries to find a romantic connection with varying success.
The movie rests squarely on the shoulders of Andrea Camponovo, who is on screen in almost every scene. She has an easy delivery, plenty of charisma and screen presence and conveys emotions in a subtle, low key, often nonverbal way. Martin Boulocq directs fluidly. His script is at times vague and unfocused, but this is perhaps intentional given the subject of the movie. Boulocq is also in charge of the outstanding black-and-white cinematography. A movie that deserves watching.
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