Diego céspedes’s geainte, Funny, Spected, and Sugurdist when Drama sometimes huge emotional punch packages. After a municipality of sexually transformed women in the Chilean desert in the north in 1982, the “mysterious view of birds” links persecution in the real world and myths with hints of grace to reality on magical realism, in a movie about the ability to love and violence in every human being.
When the new plague begins to enjoy, rumors about how long the eye has a long-loving-shared look with a gay man or a transgender woman can lead to infection. The 11-year-old Lydia girl (Tamara Cortis) is exposed to this by her male friends, because her mother, Flamingo (Matthias Catalan) is a passing woman of a coherent community of “various”-one of the terms appropriate to the era used by the women themselves, among many recovered views.
Women-a live and love group with adopted color names such as Piraniha, and Assad and Al-Najma-are the lack of kindness on behalf of Lydia by holding the eyelids of young boys and forcing them to stare in their eyes, and a meaningful symbolism. This famous mechanics for HIV transmission was invented, despite the opposite of the real world’s beliefs on touch, in bulk by Césepes, and they open the movie and its characters to strong forms of drama rooted in the cinematic view. Because Flamingo and her sisters are commendly demanding that children look at them, the demand for equality, and that their humanity be identified at a time when the default response to the outbreak of fear is not equal to.
Despite its preparation in the 1980s, it is something that feels a collapse of contemporary headlines, making recent efforts around the world to reduce the rights of transgender people. In this context, the costume of parents ’relationship such as Flamingo and Lydia (and the presence of many of the transgender aunts search for a child CISGERERER by encircling them like the lion’s pride) is a strict reprimand of fanatic narratives about transient predation. However, while easy venting in this hypothesis is the main part of the film’s structure, the “mysterious view of birds” is not educational.
A conspiracy, to a large extent, Flamingo’s romance relates to a local mine worker, a man named Yuvani (Pedro Monoz), who enters the story in a heroic manner in the temporary woman’s cabaret, boycotted the performance of clouds in Flamingo to stare in her eyes. However, love is quickly, when he reveals a disease, blames the strength of the woman he loves. For Flamingo, and for many women transmitted in the movie, there is a love of men and violent hatred in the vicinity. They were made to live as topics of participating in the day and secret things from the desire at night, all with the risk of sudden shift towards the brutality born from weak self -hate.
These contradictory romances – accompanied by the stirring centuries in the musical result of the Florence Di Confelio – is linked to the constant probability of the tragedy, especially when local miners decide to impose restrictions on the women’s movement, to the extent of entering their home and sticking their juice. It is a turn that gradually pushes the film to a surreal symbolic area, where women accept and ferment this occupation in unexpected ways. Despite this virtual colonialism of transit bodies, Céspedes trains its camera on humanity inherent in all its subjects, including the most fanatical aggressor.
If there is redemption or forgiveness that can be found, it is not easily achieved or applied evenly. There is no ideal response to the victim, which is why personalities such as Flamingo and her will be Boa (Paula Dynamark), which is a woman in communication, which ends with such a greatly varying stories. Flamingo romance with Yuvani requires difficult and tragic turns, leaving Lydia with the weight of unforgettable revenge on her shoulders. Meanwhile, Boa finds an unexpected happiness with Clementi (Louis Dubu), one of the older miners who lead the strange process of suppressing her family – albeit while the romantic threat of tension continues on the horizon.
Although the film is sometimes exposed, and it never finds the right rhythm to cover traditional dialogue more-these scenes have a more mysterious quality-the “mysterious view of birds” explodes in life in its isolated shows, with wide paintings for individuals and husbands in the movement, embodied by a committed group of performance and nationalities. Whether the love that is characterized by the screen is simple or complicated, and whether the romantic, Platonic, or mother, the film falls on huge animated moments that excite the soul by checking the fencing cruelty and tenderness inside its characters. He meets face to face with sympathy, which forces her to soften, but without leaving her guard when it comes to the unavoidable need for society in the face of intense injustice.