The Heiresses

The Heiresses is a 2018 Paraguayan drama film crafted by the budding South American filmmaker Marcelo Martinessi. The movie features a stellar cast which includes Norma Codas, Margarita Irun, and Ana Brun, who all offer powerful performances making this movie stand out in its genre.

The heart of the story revolves around two women, Chela (played by Ana Brun) and Chiquita (played by Margarita Irun), who both belong to the Paraguayan high society. The portrayal of a relationship between two ageing female lovers in a conventional Paraguayan society is not something commonly seen in cinema, making the film a commendable exploration of same-sex love in an unconventional social-geographical setting.

The film opens by depicting the couple's quiet, monotonous life that takes a dramatic twist when they are confronted with financial problems due to unseen and non-elaborated past decisions. To cope with these economic difficulties, they decide to sell off their inherited possession – the primary source being their antique furniture. The dynamic between the two protagonists is beautifully depicted through their subtle interactions. While Chiquita manages to handle the situation with positivity, Chela, on the other hand, is reluctant and melancholic about their deteriorating lifestyle.

An escalation of their financial problems eventually leads to Chiquita's imprisonment for fraud. This sudden turn of events pushes Chela into a life devoid of her lifelong companion. Emphasizing Chela's response to her loneliness and newly found independence, the movie smoothly shifts its focus towards themes of self-discovery and personal reinvention.

Chela's character arc is one of the movie's most engaging aspects. The audience witnesses her transition from a shy and introverted individual to someone who slowly but surely begins to experience the exterior world and ultimately finds her identity and independence. The narrative emphasizes Chela's internal struggles and emotional journey.

In a society where she is not much noticed, Chela finds an unexpected source of enjoyment while chauffeuring for a group of older women. Through her daily interactions with these women, most notably the vivacious newcomer Angy (played by Ana Ivanova), Chela enters a phase of liberation, thus becoming more expressive and aware of her capabilities. Here, the film skillfully explores the liberating side of social interactions while also delving into themes of loneliness and social alienation.

Adding depth to the storytelling is the filmmakers' beautiful play with visual language. The film is told more through imagery than dialogues. The vivid depiction of Chela's life gives a glimpse of Paraguay's upper class's lifestyle. The interior of the house, which becomes the space for Chela to reflect on herself, is elegantly portrayed, with the dimly lit rooms establishing the movie's reflective and somewhat melancholic mood.

The film also weaves the political history and the current economic situation of the region subtly into the narrative. The constant paradox between the rich past shown through the antiquated possessions and the grim present is effectively depicted and adds resonance to the storytelling.

The Heiresses is a beautifully shot, poignant drama that praises subtlety over exposition. The excellent performances of the film's cast and the director's confidence in his nuanced approach to storytelling make it an enriching exploration of love, identity, and womanhood.

Highlighting Ana Brun, the actress steps into her first movie acting role with the grace and poise of a seasoned performer. Her tremendous acting has also fetched her the Silver Bear for Best Actress at the 68th Berlin International Film Festival, adding to the film's many accolades.

Overall, "The Heiresses" is not just a movie, but an introspective journey that navigates through themes of self-discovery and personal liberation. It's a realistic illustration of two women's intense relationship, the motifs of companionship and solitude, and the strength to thrive despite adversity.