Dir.: Alejandra Marquez Abella; Cast: Ilse Salas, Flavio Medina, Paulina Gaitan; Mexico 2018, 93 min.
Alejandra Marquez Abella’s flawed sophomore feature is a social anthropologist’s dream: based on characters by Guadelupe Loaeza, a group of bitchy competitive Mexican wives whose the crowning glory is having Julio Iglesias for dinner. Sofia, leads the cast of mere cyphers in an episodic narrative that drains out patience even with the modest running time.
Sofia (Salas) is desperate to deny her Latin American heritage. Sending her three children off to summer camp, she warns them “don’t hang out with Mexicans”. A European background is what she and her female rivals long for. In the social whirl, Sofia’s parties are epic productions, funded by her husband Fernando (Medina) whose family is of Spanish heritage. Everything is a competition for Sofia, the smallest bum note could lead to a loss of face among her female friends. But we are in the early 1980s, and the Mexican Peso suddenly bottoms out. As Sofia and her circle rely on imported goods, this is a major catastrophe all round. So when credit cards get politely refused and the servants don’t get paid, doom is imminent. To make matters worse, Sofia’s arch rival, the noveau-riche Ana Paula (Gaitan), is still quids in. Her default-position is resigned acceptance, but with the Peso tumbling further, even this seems beyond the pail.
Salas is always brilliant, cool and contained, she carries the film as much as possible. DoP Daniela Ludlow succeeds in conjuring up this lush environment of petty mini-me’s in meltdown, keeping everything close and personal, despite the widescreen format. As a chick-flick study of vanity and self-deceit this is promising but lacks emotional depth and an absorbing dramatic arc. AS
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