There is a naturalistic charm to the truth-telling going on in Gloria, Chilean director Sebastian Lelios near-perfect film about the very imperfect world of a divorced woman of a certain age.
Starring the incomparable Paulina Garcia in every scene every single one, no exaggeration the film settles comfortably between romantic comedy and drama. Perhaps the better way to characterize it is affectionately ironic love story.
A quick series of scenes set the pace for a film that keeps moving its characters through various emotional phases. It doesnt take long to get a sense of Gloria and what shes up against.
Driving to work she sings along with one romantic song after another. At night she slips into a cocktail dress to go dancing at a local club. When no one notices her at the bar, she wades into the crowd made up of the middle-aged and unattached. Calls to her grown children go to voicemail. Complaints to her apartment manager go ignored. She is an observer determined to be a participant.
Which might sound sad. Yet somehow between Lelios ingenuity in staging the film, an extremely clever script co-written with his frequent collaborator, Gonzalo Maza, and the pumping disco that interjects its opinions and assessments of each situation, Gloria is one of the most enjoyable movies to come along in a while. It is up for an Independent Spirit Award in the foreign-language category, but surprisingly it didnt make the Academys final cut.
Much of the films appeal has to do with Garcia, who tosses aside vanity in favor of a dont-count-me-out brio. That she wears some of the most unattractive glasses huge and insistently out of style is no accident, for much of the movie is about perception: How Gloria sees herself and the world, as well as how the world does, or more often does not, see her.
Her prospects change one night at the club when she locks eyes with an attractive older man, Rodolfo (Sergio Hernandez), who is recently divorced. Before the night is out they go far beyond sultry dancing.
An up and down courtship begins, and soon Gloria is bungee-jumping at Vertigo Park, which Rodolfo owns. Then the director sets about having everyone unpack all their baggage.
There are no transitions to speak of. As the camera cuts from one moment to another, sometimes days have gone by, sometime minutes. It doesnt matter; you never feel lost, everything you need is tucked into the subtext. Refreshing in an age of scripts that over-share.