written and directed by Claudia Llosa. Duration: 94 min.
Genre: Drama.
Cast: Magaly Solier (Fausta), Susi Sánchez (Aida), Marino Ballon
(uncle Lucid), Efrain Solis (Noah), Barbara Lazona (Perpetua), María del Pilar Guerrero
(Max), Delci Heredia (Carmela) Karla Heredia (Severina)
Fernando Caycho (Melvin), Edward Llungo (Marcos).
Production: Antonio Chavarria, Jose Maria Morales and Claudia Llosa.
Music: Selma Mutal.
Photo: Natasha Braier.
Editing: Frank Gutierrez.
Artistic Director: Patricia Bueno and Susana Torres.
Costumes: Ana Villanueva.
Synopsis
Fausta (Magaly Solier) suffers from "The Empty Nest", a disease that is transmitted through breast milk of women battered during the civil war in Peru. Those infected are born without a soul, because the shock is hidden in the earth, and charge an atavistic terror that isolates them completely. Fausta
But hiding something else, a secret that will not reveal until the sudden death of her mother's unexpected events trigger that will transform your life and that of others.
film with female gaze
Claudia Llosa, in his second feature after Madeinusa, returns to her native Peru to make a point somewhat naive about how the cultural legacy lies in the parent-child transmission in its most terrifying: the transfer of a mother to her daughter's fear caused by a traumatic event during a war. In The Empty Nest
inheritance are poorly understood, legacies and inheritances are lost that are reused by consumerism heinous of our time. The estates are responsible not only to transmit values \u200b\u200band principles but also fears, such as the mother of Fausta
for violations, which will impact on his daughter and prevent normal relationships with men for much of his life. As he observed under the microscope, Llosa is coming through this mother and daughter to the desolation and loneliness of countless Peruvian women who were raped and battered during the twenty years of terrorist war in Peru, but it does so from a distance, without creating martyrs just showing the reality of a young woman traumatized by something that happened but what suffers.
The loss of inheritance speaking are evident in The Empty Nest by the emergence of a variant of the Quechua language and songs in that language. Fausta's struggle to keep these traditions alive in contrast to the celebrations (up to four weddings witnessed in the film) acquired a world gradually becoming established as the original, just as exotic landscapes funds are used in sessions photo to hide the reality by fleeing to the idealized by outsiders. That amplifies the loneliness of the main character and magnifies its last link provided for the protection of historical memory, cultural and emotional. The other inheritance, reused, used as raw materials to nourish the contemporary idioms seeking to capture the pure essence of commodification. This is the case of the pianist for working Fausta. Claudia Llosa
wears his pseudo-lyrical portrait of a close to magical realism making things unthinkable of its proposal to be credible, making it unlikely in real situations seem quaint. The power of suggestion in The Empty Nest lies in the ability to actually treat Llosa like a story, although it remains far from what it portrays. The manners of some scenes and magical realism that we talked about places us right in the tradition but distance prevents marking Llosa The Empty Nest become an example of social cinema pamphleteer. At the end of the day, the same way that speaks of a historical reality of that relationship through inherited from mother to daughter, also tells of a young man searching to find their identity by getting rid of the tradition. Approach to history is a way to see what we are to
through the evolution of the heritage that has survived.
Monica Jordan (The seventh vice, Radio 3)
film Trailer
Fausta (Magaly Solier) suffers from "The Empty Nest", a disease that is transmitted through breast milk of women battered during the civil war in Peru. Those infected are born without a soul, because the shock is hidden in the earth, and charge an atavistic terror that isolates them completely. Fausta
But hiding something else, a secret that will not reveal until the sudden death of her mother's unexpected events trigger that will transform your life and that of others.
film with female gaze
Claudia Llosa, in his second feature after Madeinusa, returns to her native Peru to make a point somewhat naive about how the cultural legacy lies in the parent-child transmission in its most terrifying: the transfer of a mother to her daughter's fear caused by a traumatic event during a war. In The Empty Nest
inheritance are poorly understood, legacies and inheritances are lost that are reused by consumerism heinous of our time. The estates are responsible not only to transmit values \u200b\u200band principles but also fears, such as the mother of Fausta
for violations, which will impact on his daughter and prevent normal relationships with men for much of his life. As he observed under the microscope, Llosa is coming through this mother and daughter to the desolation and loneliness of countless Peruvian women who were raped and battered during the twenty years of terrorist war in Peru, but it does so from a distance, without creating martyrs just showing the reality of a young woman traumatized by something that happened but what suffers.
The loss of inheritance speaking are evident in The Empty Nest by the emergence of a variant of the Quechua language and songs in that language. Fausta's struggle to keep these traditions alive in contrast to the celebrations (up to four weddings witnessed in the film) acquired a world gradually becoming established as the original, just as exotic landscapes funds are used in sessions photo to hide the reality by fleeing to the idealized by outsiders. That amplifies the loneliness of the main character and magnifies its last link provided for the protection of historical memory, cultural and emotional. The other inheritance, reused, used as raw materials to nourish the contemporary idioms seeking to capture the pure essence of commodification. This is the case of the pianist for working Fausta. Claudia Llosa
wears his pseudo-lyrical portrait of a close to magical realism making things unthinkable of its proposal to be credible, making it unlikely in real situations seem quaint. The power of suggestion in The Empty Nest lies in the ability to actually treat Llosa like a story, although it remains far from what it portrays. The manners of some scenes and magical realism that we talked about places us right in the tradition but distance prevents marking Llosa The Empty Nest become an example of social cinema pamphleteer. At the end of the day, the same way that speaks of a historical reality of that relationship through inherited from mother to daughter, also tells of a young man searching to find their identity by getting rid of the tradition. Approach to history is a way to see what we are to
through the evolution of the heritage that has survived.
Monica Jordan (The seventh vice, Radio 3)
film Trailer
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