Review // Gloria

Gloria follows a young-at-heart woman in her fifties as she lives the single life in Santiago, Chile. Long divorced, Gloria frequents the clubs and dance halls where eligible bachelors of her age search for love and companionship. Chilean director Sebastián Lelio does what Hollywood decided long ago was an impossible feat, make an entertaining and heartwarming film about a middle-aged woman, and he succeeds admirably. Gloria will not just delight female viewers, but anyone who has ever decided that sometimes it’s okay to go it alone.

When we first meet Gloria she is roving the floor of one of Santiago’s seemingly endless assortment of mid-lifer dance clubs. After a failed pick-up attempt Gloria heads home, kicking the neighbourhood cat out of her apartment in one of the director’s more on-the-nose nods to middle-age caricatures. After unsatisfying visits to her adult children (who, it seems, she does much of the work to keep in contact with) she is back on the scene. During a night out like any other she meets Rodolfo, a recently divorced former naval officer. Charmed by his innocent nature, Gloria soon believes she’s found the man able to provide the care and attention she’s been craving. However it becomes increasingly clear that Rodolfo is still under the finger of his ex-wife and his two good-for-nothing daughters. His penchant for running to their aid whenever they call soon has Gloria reassessing her situation.

While it might sound like a Spanish-language First Wives Club, Gloria delves into much darker areas than a simple empowerment film. Gloria is not longing for youth or raging against a man, but rather attempting to enjoy life on her own terms, while honestly recognizing that there may be something missing. Her independent spirit is not a reaction against old age, but a true character trait. When we meet her children (whom it is suggested she raised largely on her own) they reflect their mother’s distaste for societal norms; her son is a single father, her daughter plans to move to Sweden to marry a skier. Though Gloria searches for male attention she does so almost against her nature, and the suggestion that sometimes we are not able to find that complimentary life partner is a refreshing one.

Paulina Garcia is fearless and triumphant in the lead role. As Gloria, Garcia is a master clown, sashaying through a world that no longer pays her any mind. With her garish evening gowns, large spectacles and excessive makeup, hers is a character that could have easily been rendered unbelievable and insensitive in less able hands. Instead Garcia’s honest portrayal rings with both hope and melancholy. Gloria walks a seemingly impossible line between assured independence and paralyzing self-consciousness, and her multiple squirm-worthy choices throughout the film only highlight her humanity.

While Garcia deserves the ample praise she has already received, an equal measure must go to the director Sebastián Lelio and his co-writer Gonzalo Maza. With careful steps they have crafted a beautiful character portrait, filled with small moments of joy and sorrow that never lapse into melodrama or caricature. The understated camera work ensures our focus is on Gloria, unflinching in the face of the often uncomfortable idea of middle-age sexuality. The supporting players are all strong as well, believably human in their roles. Even Rodolfo, though a little pathetic, is never vilified for his actions.

Perhaps the most ringing endorsement one could give is that, as a twenty-something male, I found this film exceedingly enjoyable. You do not have to understand the intimate nature of Gloria’s position in life to appreciate the humanity of her story. They say “laugh or you’ll cry”, and you’ll do both with Gloria.  Enjoy the ride, she sure does.

Review by Evan Arppe.

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