Somewhere in Santiago at a dimly-lit nightclub, Orlando, the kindly and well-off owner of a textile company, locks eyes with Marina, a hopeful singer and the roughly half-his-age love of his life. But, unfortunately, after Marina's birthday celebration and a night of passion, Orlando falls gravely ill--and by the following morning--he dies in hospital. In the wake of her companion's untimely death, Marina will soon realise that, from now on, everything is brought into question: her involvement in Orlando's death, their unconventional relationship; and above all, her right to mourn her beloved deceased. In the end, what was Marina's crime; a deed so hideous that would rob a fantastic woman of her respect, her dignity, and ultimately, her identity?
Born in 1974, Sebastián Lelio is one of the leading figures (along with Pablo Larraín, Andrés Wood and a few others) of the post-dictatorship Chilean cinema. After graduating from the "Escuela de Cine de Chile" in Santiago, Lelio started by making shorts (he made five from 1995 to 2003, as well as a documentary). From 2005 on, he directed four remarkable feature films, the first three very dark, the fourth one somewhat lighter, which all garnered awards in the festival circuit. The Sacred Family (2005) is kind of Chilean version of Pier Paolo Pasolini's Teorema (1968). It was followed by Christmas (2009), a drama of uncommon intensity focusing on three teenagers alienated from their families and The Year of the Tiger (2011), recounting the escape of an inmate during Chile's 2010 earthquake. Coming after this taught triptych, Gloria (2013) surprises by its peaceful tone. The amorous adventures of Gloria, a sixty-year-old office worker in Santiago, although not without tensions and bitterness, are less upsetting than what Lelio had filmed before. But whether dark or rosy, Lelio's cinema explores the Chilean society of today with the same acuteness.