As a movie reviewer who has traversed the cinematic landscapes of the world, I must say that Jayro Bustamante’s “Rita” is a poignant and powerful addition to the pantheon of films that dare to delve into the dark corners of human suffering. Hailing from Guatemala, this film stands as a stark testament to the resilience and spirit of its people in the face of unspeakable atrocities.
As a cinephile, I found myself drawn into Jayro Bustamante’s fiery political horror masterpiece, “La Llorona,” where a spectral presence cried out for justice, shining a light on the tragic genocide of Indigenous people in Guatemala. In this genre, the Central American auteur skillfully used a sharp instrument to dissect the deep-rooted sociopolitical wounds of his homeland. With “Rita,” Bustamante once again delves into this realm for a raw, shadowy fantasy based on an unspeakable 2017 tragedy that left young girls in a government-run shelter unprotected and unpunished. To reveal more about the case would tarnish the movie experience, but it’s safe to say, there was no joyful resolution in sight.
13-year-old Rita (Giuliana Santa Cruz) found herself in a facility for troubled girls – somewhere between a detention center and an orphanage, following her escape from appalling home abuse. However, the environment is reminiscent of a rundown prison. The girls in each room view themselves as unique beings from another world, which is why they wear costumes. Rita joined the angels, who don feathered wings, but there are also fairies, and the mysterious group known as “the stars.” There’s an element of performance art to their attire. Initially, it seems that these fantastical items are just a product of their imagination. However, the real significance behind them turns out to be much darker. It’s later revealed that these imaginative accessories might not be as innocent as they appear.
In a consistently beautiful yet haunting manner, the film “Rita” displays both dreamlike and nightmarish qualities. Inti Briones, the cinematographer, skillfully exploits the contrast between the fairytale-esque costumes and the harshness of the environment, using production design elements and some digital effects to heighten this effect. The recurring image of Rita walking through spectral halls at night, always adorned with her wings, represents a celestial being trapped in an unyielding chasm. This is particularly apparent when she encounters unsettling entities, some ethereal and others more menacing flesh-and-blood beings – sexual predators are prevalent among the staff responsible for caring for the girls.
To start with a cautious yet critical mindset, Rita slowly builds relationships with other angels like Bebé (Alejandra Vásquez), who has a charming demeanor, and Sulmy (Ángela Quevedo), who exudes practicality and decisiveness. They’ve been there for some time and have acquired valuable insights into the daily struggles they face.
Through his illustrious career, Bustamante has frequently helped inexperienced actors deliver emotionally intense performances. The group of young actresses, some portraying well-defined archetypes, often blend seamlessly on screen, with opportunities for individual excellence (Vásquez being one). Taking on the demanding lead role, Santa Cruz makes her captivating cinematic debut. Fluctuating between fury and vulnerability, playing a survivor who desperately aims to rescue her younger sister from suffering the same abuse, Santa Cruz powerfully conveys the deep pain hidden behind Rita’s eyes. What sets “Rita” apart is that the teenage heroines are not portrayed as blameless or innocent, but rather as responding to the violence and mistreatment that have marked their young lives. They use strong Spanish curse words towards their abuser. They smoke. And they are wiser, if less powerful, than their captors.
Suitingly, one of the most chilling scenes revolves around a grim reality rather than supernatural elements. A social worker with long hair, sometimes called “the witch” (Margarita Kenéfic), calls Rita to her office to investigate the events leading up to her institutionalization. As Rita recounts the heinous acts her own father inflicted upon her, the elderly woman implies that Rita shares some blame in the situation. This heated dialogue mirrors the way these girls – many of whom are rape victims – are viewed by the system. One of the guards even defends his actions by labeling them as not just girls, but criminals.
In terms of film production, ‘Rita’ marked a significant milestone as it was the first collaboration between Guatemala and the United States, spearheaded by Bustamante’s production company La Casa de Producción in partnership with Concordia Studio from America. Many of Bustamante’s regular adult actors from his previous three films make brief appearances here. For instance, Maria Telón, who starred in ‘Ixcanul’, portrays Rita’s guiding spirit, a woman who took her in after she fled home. Juan Pablo Olyslager, lead actor of the gay-themed ‘Tremors’, and Sabrina De La Hoz, notable in ‘La Llorona’, are seen playing malevolent characters aligned with the oppressive ruling forces.
To powerful, even shocking effect, Bustamante’s incisive writing slowly deploys revelations that point us to rethink what we thought we knew about the narrative, in particular with regards to the costumes and rituals the girls have implemented for their own collective safety. However, more than any of his other issues-centered marvels to date, “Rita” falls a bit didactic at the end. But since the case on which “Rita” is based remains controversial and unsolved in Guatemala, one can somewhat forgive, or at least understand, the filmmaker’s need to explicitly spell out his intent via narration. Nonetheless, Bustamante remains a narratively resourceful and exciting artist. If not a flat-out consummation of his talents, “Rita” certainly expands his scope into more intricate tonal and stylistic experimentation, as he completely frees himself from the chains of straightforward realism.
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2024-11-22 18:50