‘The Virgin of the Quarry Lake’ Review: Adolescent Envy Turns Deadly in an Atmospheric Argentine Oddity

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Even when summer heat seems to distort reality and minds alike, the temperature in “The Virgin of the Quarry Lake” remains fixed at an uncomfortable level for me as a cinema enthusiast. The film, directed by Laura Casabé, captures the clinging sweat on skin, whether it’s to surfaces or just to itself, in a unique blend of genres. It’s a tale of a summer romance that is frequently disrupted from its dreamy, infatuated state by sudden, eerie bursts of violence.

This film can be seen as a modern retelling of “Carrie” – a story where powerful teenage emotions escalate into destructive turmoil. But it’s also a reflection of a nation in crisis, on the brink of widespread unrest. Screenwriter Benjamin Naishtat, renowned for his works like “Rojo” and “Puan”, leaves his intelligent, politically aware mark on this production. However, Casabé infuses the story with her distinct feminine perspective.

In its exploration of civility being abandoned due to personal greed or collective unrest, subtly chilling and deviating from conventional magical realism, “The Virgin of the Quarry Lake” can be considered a type of horror movie, though it might not satisfy those seeking traditional, graphic genre excitement. Its festival release strategy needs to be thoughtfully planned by programmers and potential distributors post-Sundance’s world cinema competition debut, but it could potentially become a cult classic if discovered by the right audience. The literary reputation of author Mariana Enriquez, whose neo-gothic stories have inspired Naishtat’s adaptation, may aid in its promotion.

2001 summer in Argentina is marked by a restless, anxious atmosphere. The people’s growing discontent with the malfunctioning government escalates, eventually leading to nationwide riots in December. Power outages are common and fights between strangers occur frequently on the streets. The movie starts with one such unexpected altercation, setting the stage for the volatile, unpredictable behavior that follows. In a dusty suburb of Buenos Aires, where she resides with her grandmother (Luisa Merelas) following her mother’s long departure to Europe, teenage Natalia (Dolores Olivero, making a striking debut) is more focused on personal matters, particularly Diego (Agustín Sosa), an older boy with enticing eyes and a neck tattoo of an anchor. Diego serves as a temptation that Natalia wants to secure, just like her friends Josefina (Isabel Bracamonte) and Mariela (Candela Flores) who acknowledge Natalia’s dominant position among them.

The early summer is promising for Natalia, and things seem to be going well for her. Casabé skillfully captures the customs and interactions of teenage socializing at the turn of the millennium. AIM chatrooms, used not on smartphones but in dingy internet cafés, serve as significant arenas for flirting, while invitations to meet up and listen to CDs are crucial steps, if not bases, in the game. However, just when Natalia’s plan to win over a potential suitor appears to be working, Silvia (played by Fernanda Echeverría), an attractive woman in her twenties with rumored connections to the rock scene and intriguing stories of her time spent in London, enters the picture. Instantly, Diego’s attention shifts towards her. Natalia’s initial disdain for her older love rival doesn’t lessen when Silvia extends friendly gestures to the entire group, inviting them to a picturesque hidden lake perfect for relaxing afternoons of sunbathing and plotting revenge. Unfortunately, this kindness will come back to haunt her.

In this film, Natalia’s growing jealousy, simmering like an unquenchable fire, fuels the tension throughout the 95-minute runtime. Her desires and anger are expressed in various ways, from ordinary occurrences to unsettling instances. It could be seen as a form of subtle psychokinesis, most notably in the chilling hit-and-run accident scene, where it’s unclear whether she merely observes or intentionally causes it. Amidst a nation on edge, her potentially supernatural aggression is not immediately apparent. Olivero delivers an enthralling performance, blending spoiled teenage temperament with deeper reservoirs of anger, all hidden beneath a haughty cat-like demeanor of a mean girl.

Casabé’s direction skillfully combines sharp insights into adolescence – humorously and tenderly portraying the intense highs and lows of a first crush – with a vague, unsettling feeling that the world is unraveling. The vivid, sun-scorched colors in Diego Tenorio’s cinematography intensify like a summer storm, mirroring how the film’s relaxed pace suddenly becomes chaotic. In this tense atmosphere, it’s hard to tell if the turmoil depicted on a national or personal level is more profound.

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2025-02-04 12:46