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Somewhere in Santiago in a light-lit nightclub, everything seems to be fine for Marina and Orlando. The story of the duo began where Orlando, the owner of the glittering, luxury textile company, had a strong friendship with Marina, a hopeful singer at the time. Maybe that relationship did not last very long. After celebrating Marina's birthday, things turn into tragedy. In the end, Orlando is in serious condition after that night and was taken to hospital the next morning but dies and the tragedy occurs.
A Fantastic Woman questions the kind of poisonous and daily intolerance that sounds almost innocent and arises more from ignorance than from evil and hatred. [Full Review in Spanish]
A Fantastic Woman represents a bold step forward, but also stands alone as a great, always relevant study of resilience in the face of a thoughtless and cowardly world.
A Fantastic Woman displays the same unblinking intensity that distinguished Jackie (2017), Chilean director Pablo Larrain's study of Jackie Kennedy in the week following JFK's assassination.
Vega's performance is riveting, but writer and co-director Sebastián Leilo's use of sex and gender to shape his narrative is straight out of a '50s melodrama.
When the screen went dark prior to running the final credits, I assumed for an instant that some small initial section had come to a close. In fact, an hour and three quarters had gone by.