Damsels in Distress [2011]

MPAA (PG-13)  Roger Ebert (3 Stars)  Fr. Dennis (4 Stars)

IMDb listing -
http://www.imdb.com/title/tt1667307/
Roger Ebert's review -
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20120411/REVIEWS/120419995

Damsels in Distress (written and directed by Whit Stillman) is a delightful and IMHO insightful film about four young good-looking and do-gooding women undergrads at "Seven Oaks," a small liberal arts college located presumably somewhere in the North Eastern United States.

The group, friends though they were, was nevertheless led by Violet (played by Greta Gerwig).  The others in the group included the ever positive Heather (played by Carrie MacLemore); the (at least in her estimation) more worldly Rose (played Megalyn Echinkunwoke) who went to London for six weeks as a child and came back "a Londoner," accent and all, which she studiously hadn't lost ever since; and finally Lily (played by Analeigh Tipton) who appeared to have been the most recent addition to Violet's group, who didn't completely buy Violet's pontificating (though never completely able to express why) and who Violet nonetheless accepted (if with an occasional shrug) into the group because as she put it: "It's good to have a challenge."  Violet was no dictator.  So convinced of her own rightness / goodness, she didn't feel that she had to be one ;-).  I just love this movie ;-) ;-)

These four good looking college women, who could easily have chosen to hang-out with similarly genetically/financially elite college men choose, in fact, to hang out with the men of the campus "loser frat", the D-Us.  And actually they do this in part to save/redeem the whole Greek (err at Seven Oaks 'Roman') system:  When the girls hear the fairly attractive editor of the school paper, the "Daily Complainer," call the "Greeks" elitist they don't let him get away with putting down entire group of people on their campus like that,.  First they correct him: "There are no 'Greeks' at Seven Oaks, only 'Romans' (a trivial difference one would suppose, apparently "Seven Oaks" requires fraternities to use Roman letters rather than Greek ones ...).  However, then they point specifically to the frat that they like the most -- the D.U.s.  "They're not elitists, they're a bunch of morons."  And even the previously arrogant/complaining editor of the school newspaper is stopped in his tracks.  He has to agree.  The D-Us really are a bunch of "dufuses" (or is it dufi? There's actually a discussion about that in the movie ;-).

But saving the D-Us or the Campus Greek/Roman system isn't the full extent of Violet's / her friends efforts to change the world for the better.  The four dutifully staff the campus' "suicide prevention center."

And they really care.  The first thing that a person gets when he/she comes to the center is a nice fresh donut.  Violet explains that "studies have shown" that "fresh pastries, in the United States especially a nice fresh donut, immediately evoke happy emotions and memories in test subjects."  So everyone coming into the Seven Oaks College suicide prevention center gets a nice fresh donut.  ONLY, if it turns out that the person isn't really suicidal (or at least very depressed... for instance, someone "just seeking information" ...) then they quickly snatch the donut away! ;-)  "We're an NGO, our sponsors are very strict on these sort of things ..." ;-).  So donuts go to only the very depressed.

Then, they've come up with this whole line dancing, dance therapy.  Again, Violet dutifully explains to someone one that "studies have shown" that apparently people in dance groups because they all have to work together learn to both depend on each other and have no time to be depressed (or something like that ...).  Indeed, very early on in the movie, Violet tells Lily that she wants to do something really important during her life, "like start a a dance craze."  And she's totally serious about this.  She's convinced (herself at least) that Richard Strauss (instead of Johann Strauss) who she credited as the inventor of the Waltz (in either case wrongly, though the latter would probably be closer to the truth than the former, but never mind...) ; the inventor of the Charleston who she believed (wrongly) was named Charleston rather than the dance being named after the city); and finally Chubby Checker who she (I believe finally correctly) credited as the inventor of the Twist; all "made the world a better place."  The latter part of the movie is devoted in part to Violet's attempt to start said "new dance craze" around a dance she invented and called "the Sambola..."

I found Violet's confidence (and really that of all the other girls in her group) in face of messing-up the facts just unbelievably endearing.  Yes, Violet was often strong-willed / opinionated.  Yes, she was often wrong, even completely wrong.  But she was utterly sincere (as only a 20-something 'wide-eyed' college student could be).  And she didn't really impose her opinions on others.  When challenged (as she was often by Lily) she just shrugged, accepted that not everyone was going to agree with her, and went on with her business.

I just found this to be a beautiful insight into young / up to early 20-something innocence.  And all four of the young women manifest this.

Anyway, Parents should note that though rated PG-13, I still would still rate it R.  Yes, there are a few (not many but a few) matter-of-factly made sexual references made by the characters in the film that I do think would more appropriate to an R-movie than to a PG-13 one.  More importantly however, as generally innocent as the movie is, I don't think that someone under 17 would really understand the movie anyway.  Yes, there are things in this film that would seem funny to just about everyone of any age.  But I do think that the movie would work best for someone college aged and above.

That said, I have to say, I really, really enjoyed the dialog and the acting of all four of the lead actresses in this film.  And I found the innocence and general positivity of this film simply wonderful!

Have you seen Lupita? (orig. ¿Alguien ha visto a Lupita?) [2012]

Fr. Dennis (4+ Stars)

IMDb listing

I have to admit that I honestly never expected Have you seen Lupita? (orig. ¿Alguien ha visto a Lupita?) a Mexican, Spanish language-English subtitled film directed and cowritten by Gonzalo Justiniano along with Marina Stavenhagen and which played recently at the 28th Chicago Latino Film Festival take the direction that it did.  However, looking-back to pretty much the first line in the movie, the hint is already there.

In  that first scene, a bouncy / cute Mexican teenager (played by Dulce Maria [IMDb]) comes back into her heavy-on-the-pink, sweetly adorned room of her upper-middle class family's home, giggling, puts her new smart video phone on a table or something, turns it on, and starts talking into it.  Then as "solemnly" as any teenager bubbling with excitement over getting a new smart phone would do, she introduces herself to all the future viewers of her video diary, which she declares she's making "for all her future children," (and since we're watching her do all this, she's actually introducing herself to us) with the words: "My name is MARIA GUADALUPE DEL PILAR DE LA CONCEPCIÓN DEL SANTO NIÑITO JESUS... but to most people who know me, I'm just Lupita." ;-).  In that line, my friends, is the clue for understanding the entire movie ;-) ;-).

I would like to stop my review here, except perhaps to note (1) that a movie like this is inevitably risky and (2) I do think that director Gonzalo Justiniano produces a movie of such innocence that I do believe he pulls it off.

Gonzalo Justiniano was present at the film festival to take questions after the film's screening.  So I did ask him, noting my background (that I am a Catholic priest from an Order called the Servants of Mary) and my surprise and admiration for what he and the others involved in the film appeared to pull-off, how he and the others involved in the film (most notably probably the cowriter Marina Stavenhagen) even came-up with the idea to make it.  Noting also the obvious and obviously intended allusions made in the film, he answered by saying that he intended to make a movie for young people of today and one that defended them and their point of view.  Often enough young people are put down/dismissed as being silly or crazy when they really are not and that this film appeared to be a good vehicle to do so.

The director also said that he was showing the film at the Chicago Latino Film Festival as well as others in hopes that he could find an American distributor for the film.  OH BOY, DO I HOPE THAT HE FINDS ONE!  This is a highly original, gentle, light-hearted film that (as often is the case with such films) turns out to be surprisingly profound. 

So ¡Felicidades Gonzalo Justiniano, Marina Stavenhagen y Dulce Maria! and the rest of the cast / crew! Yes, your subject matter was tricky, but I really do believe that with your persistent innocence you pulled it off!  ;-)


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Grandfathers (orig. Abuelos) [2010]

Fr. Dennis (3 1/2 Stars)

IMDb listing -
http://www.imdb.com/title/tt1815579/

Grandfathers (orig. Abuelos) written and directed by Ecuadorian film-maker Carla Valencia Dávila is a documentary that played recently at the 28th Chicago Latino Film Festival, about the filmmaker's two grandfathers: Remo, Ecuadorian and Juan, Chilean.  It makes for a compelling story.

Remo was a pharmacist, who in his 40s contracted a brain tumor.  Given little chance for survival, he decided to hit the books on his own and, experimenting on himself, he eventually came up with a pharmaceutical cocktail that defeated the tumor allowing him to live for decades more.  Indeed, Carla narrates that he was convinced that Carla and her generation could, in fact, through the various cocktails that he became adept at making, become immortal.   And he did come to have a rather extensive and international following.  People from all over the world, given no hope for survival would write him for help, and (according to the documentary) he did have his successes.  A good number of the people who wrote him came to be cured by the medicines that he sent them.

Juan on the other hand, was a political activist living in a desert provincial town in northern Chile where he had grown-up, working for Salvador Allende's coalition, the Unidad Popular, prior to the 1973 military coup led by Agusto Pinochet against Allende's government.  Shortly after the coup, Juan was arrested, taken to a notorious concentration camp in northern Chile and a month later was one of the first to be executed there.

How did  Carla Valencia Dávila's parents meet?  Well, this in itself becomes fascinating to a Westerner: they met in 1970 in Soviet Russia, both being Soviet sponsored foreign exchange students there.  They were still living in Moscow where Carla was born when the 1973 coup in Chile occurred, presumably returning eventually to Ecuador rather than Chile after their studies were finished.

Thus the film becomes a window in the life of the young Latin American Left of the late Cold War era (1970s-).  Playing some of the old Chilean left-wing LP-records that her father either brought with him to Moscow or bought there, Carla notes that on them were songs of a Chile that no longer exists.

For someone fascinated in both history and people, it all makes for a very fascinating film.


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100 Cuban "Sones" (orig. Los 100 Sones Cubanos) [2010]

Fr. Dennis (3 1/2 Stars)

IMDb listing -
http://www.imdb.com/title/tt2355701/

100 Cuban "Sones" (orig. Los 100 Sones Cubanos) directed by Edesio Alejandro and Rubén Consuegra
is an excellent Spanish language-English subtitled documentary about the Cuban musical style called "Son," which played recently at the 28th Chicago Latino Film Festival and I do believe would enchant both music and history buffs. 

I first formally encountered this musical style through buying a number of musical anthologies, including Congo to Cuba and Putumayo Presents Cuba produced by the Putumayo World Music.  That company dedicates itself to "indroducing people to the music of the world's cultures."  I had been mourning my impending departure from a parish, St. Catherine of Siena in Kissimmee, FL that I deeply loved.  So I wished to buy a number of albums of music that I heard in and around the parish on a daily basis.  Actually, the parish was mostly Puertorican, Colombian and Haitian with also a fair number of Anglo-American retirees, mostly from the northeastern United States, rather than Cuban.  Cuban Americans tended remain centered in southeastern Florida / Miami.  However, that Putumayo title Congo to Cuba intrigued me and so I bought it and upon listening to it was hooked, soon purchasing besides Putumayo Presents Cuba, also Putomayo Presents Puerto Rico, Dominican Republic, Colombia and the French Caribbean. So I wept listening to these albums for a number of months after coming to Chicago, before discovering the Mexican-American station WLEY ("En Chicago manda La Ley ..." ;-), which of course plays a totally different style of music but then while I do like the rhythms in various styles of music, I mostly like the interplay of a song's rhythms with its lyrics.  As such, I've loved both Blues and Country music all my life.  And I've found that Cuban Son and Mexican Norteña music to have similarities to Blues and Country music respectively.

So when I found that there was going to be a documentary about Cuban Son music playing at the Chicago Latino Film Festival this year, I made sure to attend.

Okay, what is Son music?  According to both the documentary and the wikipedia article on Cuban Son, it is a style of music with African roots that originated in the mountains and countryside of far eastern Cuba and eventually made its way west to Santiago de Cuba and from there eventually to Havana and New York.  The instruments used in a Son ensemble often appear simple but combined produce, of course, a remarkable a rhythm and sound.

When I say that the instruments _appear simple_, I mean that among the instruments talked about in the documentary was, for instance, the role of the botija (a clay jug) played (blown into) like a bass wind instrument.  One would think that this, a clay jug after all, would be as simple an instrument as one could be.  Yet, the botija shown and discussed in the documentary was 300 years old and was originally made (from a particular mud) found only in Spain.  Rhe musician owning the botija in question talked of it with exactly the same fondness as the owner of  a Stradivarius violin.  Tapping its ceramic shell, he proudly told the interviewer: "You simply wouldn't be able to find or make a botija today that would make the same sounds as this one."  Remarkable and I do love it!

Remarkable also to Son and then to Latin music is that it can only be produced by an ensemble, again not necessarily by an ensemble playing rarified instruments (though the often humble instruments used are, as the botija, in their own ways special), but necessarily by an ensemble.  It's a style of music where the sum of the whole clearly exceeds the individual parts.

Thus it perhaps would not be surprising that the still-Communist regime in Cuba would happily allow the filmmakers access to make this documentary because Son music does, in fact, provide an example where community action (the ensemble) produces a result greater than that which would be possible by the individuals alone.   And the regime here would be right.  Is is always right?  Of course not!  (As plenty of Cuban-American refugees/immigrants in Miami, most of them Catholic would testify)  But here at least, when it comes to Latin music, they do have a point.

Anyway, I found the documentary to be remarkable and thought provoking.  One day, probably fairly soon, the Castro brothers will have gone to meet their Maker.  On the other hand, Cuba and its music and culture will go on.


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Captive Beauty (orig. Belleza Cautiva) [2011]

Fr. Dennis (3 1/2 Stars for concept/technical merit - 0-1 Star for fundamental morality/appropriateness)

IMDb listing -
http://www.imdb.com/title/tt1329321/

Captive Beauty (orig. Belleza Cautiva) is a rather unsettling documentary directed by Jared Goodman about a beauty pageant held in recent years as a morale booster for the (female) inmates at a woman's prison named Buen Pastor in Mendellin, Colombia.

The explanation given for the very idea of holding a beauty pageant among the inmates of a woman's prison in Colombia was that beauty pageants are part and parcel of Colombian society: "There isn't a neighborhood event held in Colombia which does not include some kind of beauty pageant."   One of the female guards at the prison was taking modeling classes.  So the idea apparently came-up in prison staff discussion of holding a beauty pageant with women prisoners competing on behalf of their cell blocks and that it could serve as a moral booster for the prisoners themselves.  By appearances, it would seem that the prison staff was right, the women prisoners, even those not selected to represent the various cell blocks, did apparently "got into it."

If this begins to sound to you like a "somewhat distant cousin of The Hunger Games" actually playing out in reality, well ... I agree with you.  I found this film rather unsettling and on all kinds of levels.

First, the reader here would probably be surprised that six "beauty pageant worthy" contestants from the various cell blocks could be found at all.  (The contestants had been selected by the inmates from their respective cell blocks).

Second, as good looking as these prisoner "contestants" were, objectively, they REALLY DESERVED to be in prison.  In interviews with them, most of the women admitted that they understood why they were in jail often with sentences of many years.  At least one, however, maintained her innocence saying that she was simply in the wrong place at the wrong time.  An interview with the American "Gringo" male that her group had kidnapped however would probably set most viewers straight.  He told the interviewer that she had been tossing a live hand grenade between her hands threatening him with blowing them both up, and that he had been completely convinced that she was going to waste him (along with herself and the others in her group) unless his friends came-up with whatever the ransom was.

Another one of the contestants had been kidnapped from her uncle's "finca" (farm) in the countryside by one of Colombia's left-wing guerrilla groups as a 14 year-old, and had spent years then fighting on behalf of the guerrillas before getting captured and then put in prison.  A third had been raped by a relative as a 10-12 year old, and that sent her on a violent path.  She started hanging-out with right-wing paramilitary groups saying that she liked their slogan "Death to Rapists."  In an interview with a sister of hers, the sister said that this woman must have killed at least 15 people before finally being arrested.  "She kept coming home with blood on her clothes."

So, if nothing else folks, the film reminds viewers that just because a young woman could be "really really good looking" doesn't mean that she's necessarily "kind" as well.  Like _anybody else_, until you get to know her, she really could end-up being ... evil, crazy or both. 

The "Death to Rapists" vigilante seemed to have found some peace in prison, having a prominent picture of Mary in her cell and (I believe) was shown going to Mass in the prison.  Still, one gets the idea above of the true reality of these people's past crimes.  And aside from the one American interviewed, one can only imagine what the victims of these women's crimes would have thought upon finding reference to them in the news of competing in a prison beauty pageant, this because the pageant made and was apparently followed avidly by Colombia's tabloid television press at the time.

Now don't get me wrong, I do wish that prisons were kept in greater order so that prisoners would only be punished through time served rather than through the near constant threat of prison violence / rape (which often makes prison time a tragically disproportionate sentence for the crime committed).

But I do find it quite disturbing to find prisoners or ex-cons made into arguably heroes (as in the gang intervention documentary The Interrupters [2011] filmed in all places, my current Chicago, IL) or into quasi-celebrities (as in the case here).

Yes, I do believe in forgiveness and redemption. The case of St. John of God (on whom Robert DeNiro's role in The Mission [1986] was probably based) offers a great example of this.  Yet, I do believe that an ex-con / redeemed sinner ought to go about one's redeemed life _modestly_ and thus certainly out of the lime-light.

So as strange and arguably fascinating as the concept of this film was, I can't help but think that it's just a step or two from the "reality TV" horror condemned recently in the fictionalized Hunger Games.  Still, exactly like a train-wreck, the film is certainly provocative even as it is disconcerting.


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The Craft (orig. Riscado) [2010]

Fr. Dennis (4 Stars)

IMDb listing -
http://www.imdb.com/title/tt1667333/
AdoroCinema listing -
http://www.adorocinema.com/filmes/filme-202595/

The Craft (orig. Riscado) directed and cowritten by Gustavo Pizzi along with Karine Telez (who plays the film's leading role) is a well-written, well-acted, well-crafted small budget film from Brazil which played recently at the 28th Annual Chicago Latino Film Festival.  It's about Bianca (played by Karine Telez) a young actress right at the edge of becoming "not so young anymore" still trying to find her big break in contemporary Rio de Janeiro.

Thus anyone who's ever been a "struggling actor/actress" (or known one or two) could probably relate to this story quite well.  A foreign viewer (like myself) gets the added bonus of watching this story play out with the amidst the particular color and rhythms of Rio one of the most storied/enchanting cities in the world.

As a struggling actress, Bianca gets her odd jobs/gigs -- as a costumed/singing balloon delivery person that any non-descript Rio office staff would call to "surprise" a boss or co-worker on a significant birthday or anniversary (just like any non-descript office staff would do pretty much anywhere); as part of a "zombie" troupe run by two-bit "agent" (hey, at least he's not an outright pimp ...) Mauricio (played by Camilo Pellegrini) plugging random clubs or catering at random "zombie themed dinners" across Rio de Janeiro; singing in full 18-19th century colonial dress complete with "parasol in hand" backed-up by samba band playing behind her ... all standing in front of a new _neighborhood_ beauty salon whose owner apparently wanted to "open with splash" ;-).  Again, anyone who's ever known (or been) a struggling actor/actress could probably relate.

Indeed, the inevitable scene where Bianca is (once again...) finding herself paying her landlady only 1/2 the rent is certainly priceless.  The good natured landlady, takes the money and is presumably willing to 'wait for the rest,' but not without the inevitable lecture.  So she tells Bianca: "You know, when you're young it's good to dream.  In fact, you have to dream.  But then you have to wake-up ..." ;-) ;-)  How can one _not_ like a movie so well written and acted as this? ;-)

But Bianca does appear to stumble into a break.  At a seemingly random audition, like so many before, after going through the requisite posing in front of the camera (turn left, now turn right ...), she's asked by the film's production assistant (the audition is considered by the director so run-of-the-mill at this point, that he leaves the initial interviewing to his production assistant) to perform to those present "something from her life."  Others, ahead of her said a few words, perhaps tried to sing, etc.  Bianca, asks the production assistant "for a prop," specifically for a lighter.  With the lighter in hand, she flicks it on, and still with perhaps a thick Brazilian accent sings Marylin Monroe's famous "Happy Birthday, Mr. President."  The production assistant is floored.  "Where'd you learn to do this?"  "Well, I deliver balloons to a lot of middle aged bosses in the offices outside ..."  It turns out that the audition was for someone to play a now-famous Brazilian actress (who's since moved to France) "in her early years."

A few days later, she gets a call from the director, who's similarly impressed with her.  So a few days after that, Bianca is able to return her red stained "zombie dress" to Mauricio ... Things are looking up for Bianca, but do they remain there?  Well ... go see the movie! ;-)

Movie buffs will already probably guess that this film has a definite Felini [IMDb] (La Strada [1954] / Nights of Cabiria [1957]) feel to it, the more so since like Federico Fellini [IMDb] and Giulietta Masina [IMDb], the star of those films, the director here, Pizzi, and the star, Telez, are husband and wife.  I would also add that there is a gentleness to this film reminiscent of the famed Brazilian film Central Station (orig. Central do Brasil) [1998].  Then the cinematography and editing of this film is a joy, as various (and appropriate) portions of the film are filmed using (1) standard contemporary contemporary recording equipment, (2) grainy "super 8" style film, and (3) using what one would suspect to be a cell phone.

Thus the film is both simple yet universal in theme, clearly inspired by the film-making of World Cinema's greats of the past yet executed in a thoroughly contemporary/modern way, making for a truly excellent film.

A final note: There is no nudity (or violence, drug use, etc for that matter) in this film at all, nothing that could concern a parent, even if I would not necessarily recommend it for kids as I doubt that they would "get it" yet.   However, I do believe it to be a great, well executed film with a story that anyone of young adult age and above could appreciate.


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Third World (orig. Tercer Mundo) [2009]

Fr. Dennis (3 Stars)

IMDb listing

Third World (orig. Tercer Mundo) is a low-budget indie style "sci-fi" film directed by Chilean-born, Cuban-educated Cesar Caro Cruz that played recently at the 28th Chicago Latino Film Festival.  As an "indie-style sci-fi film," stylistically it has similarities with critically well received North American indie films Another Earth [2011] and The Future [2011].  Yet since it takes place in three different locations in Latin America -- in Bolivia, Chile and Costa Rica -- it also has similarities to the much higher budget Hollywood produced Babel [2006] which involved three simple stories involving ordinary people occurring on three different continents, yet stories which interlocked in various ways.  Yet, though stylistically similar to the first two films and perhaps influenced by the third, Third World (orig. Tercer Mundo) is a story emphatically told from a Latin American and then "feet on the ground" Latin American perspective.

What do I mean?  First, the film is based in both pre-Columbian Latin American history and contemporary Latin American pop-culture.

In one of the three concurrent stories taking place at the outskirts of La Paz, Bolivia, the abuelo/grandfather Jesús (played by Hugo del Pozo) of 20-something Amaya (played by Carmen Tito) is very proud of / well versed in his Aymara heritage.  Showing a picture of a Bolivian rock-painting (according to the film) from 600 B.C. portraying someone who looks almost exactly like a contemporary astronaut, he takes it for granted that the Andean peoples had been visited by extra-terrestrials millennia ago.  Indeed, he appears rather proud of the implication - that extra-terrestrials would have found the peoples of the Andes/pre-Columbian Americas worthy of visitation.  That's the "pre-Columbian historical" aspect of the equation.

Then there's the Latin American pop-cultural aspect: when I was first sent by my Order to Mexico in 1999 to learn Spanish, I found it jaw-droppingly stunning when in the course of one of day's lessons my teacher told me that recent polls indicated that some 80% of Mexico's population believed in UFOs.  Apparently there had been some widely publicized sitings of plasma ball UFOs (ovnis in Spanish) around the famous Iztaccihuatl and Popocatepetl volcanos outside of Mexico City (YouTube) and ever since Mexican public opinion has been hooked.  (Remember, Mexico is another country with an enormously rich history of pre-Columbian civilization and that the image on the sarcophagus of one of the Mayan rulers, Pacal, buried in neighboring Guatamala could be interpreted as if he was flying a spaceship).  All this is to say that Latin America, particularly the parts of which with heritages of advanced pre-Columbian civilizations, offers fertile ground for _indigenous_ sci-fi speculation.  

However, there is a second, far more "hardnosed" / "feet on the ground" / "down to earth" aspect to this film because it does challenge the viewer to ask:  From the point of view of someone living in what's called (often derisively) "The Third World," would not visitors from "The First World," ("Gringos") seem like  "extra-terrestrials?"  That's the hard-edge of the movie.  Remember here that this movie was made by a director from Chile but one who got his film-school education in Cuba, hence someone who would not be particularly afraid to force that question of whether a "Gringo" would seem to someone from the Third World to be something of an "extra-terrestrial" (not of this/their world).

All three the stories in this film carry that hard-nosed edge:  Richi (played by Luis Miguel Sanchez) a young, hardworking auto-mechanic is dumped by his girlfriend Anita (played by Carolina Bello May) for a "Gringo" named Arnold.  The angry, crest-fallen, jilted Richi keeps calling him "Schwarzenegger" even though Arnold doesn't look anything like Arnold Schwarzenegger.  Instead, he appears to be simply a reasonably amiable American "surfer-dude" who came down to Costa Rica meeting Anita on the beach one day.  When Richi asks Anita why she dumped him for Arnold even though he had been working his butt-off in that garage to hopefully build a good life for the two of them, she tells him quite sincerely: "I know that you're a good hardworking guy, but you're also a bit boring."  To make himself "more exciting"/"less predictable" therefore, Richi decides to go to a Costa Rican lake with his much lazier friend (and "onvi"/UFO buff) to see if they could spot one of those "onvis"/"UFOs" during a passing solar eclipse.  

Then while Amaya's grandfather would like to teach Amaya all sorts of things about the ways of their ancestors, for most of the film, Amaya's just interested in finally discovering who her actual father was.  Eventually, she's told by her mother that he was a Costa Rican tourist who had passed through some 23-24 years ago.  To Amaya he might as well have been from Mars...

Finally, soft-spoken Chilean pilot Juan (played by Juan Pablo Garuti) is training to be an astronaut and told that he'll be "the only Latin American" on a particular NASA space mission.  He's told by his Chilean commanders that he'll both be representing all of Latin America as a result AND since it's NOT necessarily "a go" yet with regards to the mission THAT HE CAN'T TELL ANYONE that he's going to be on this mission.  The poor guy is lonely and, as a technician, kind of a nerd.  Between the dual weights of the responsibility and the secrecy that his mission entails, he simply has no idea what to tell the cute and similarly shy Paloma (played by Bibiana Alvarez) at the Santiago, Chile coffee-bar/tabacco-stand who he's desperately trying to impress.  Finally, he tells her "I can't tell you much, but one day soon you'll see me on TV." (Oh boy, what girl would want to hear that?  Is he gonna turn out to be a mass murderer or something...?)  But yes, she does come to see him "on TV."  It's just that by that time, he's in Space, having been launched presumably from Cape Canaveral in North America, thousands of miles from Santiago, Chile ...

So do we become our own "space aliens" to each other?  A simple but fascinating movie ;-)


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