In A Fantastic Woman, we are at first deceived by director Sebastián Lelio to believe that the main character of the movie is Orlando, a middle-aged businessman who owns a textile company in Santiago, Chile. Shortly afterward, we are introduced to the woman with whom she is dividing her life: the young salsa singer Marina Vidal, who performs at the Galeria hotel club, but we will discover to be a waitress on a daily basis.
After a romantic dinner, the couple dance, talk about a trip to the Iguassu Falls in Brazil and, back to Orlando apartment, make love and sleep peacefully, until, in the middle of the night, Orlando felt sick. Going to the hospital, he falls down the stairs and is supported by Marina who caould take him, but not in time: the businessman dies of an aneurysm.
Confined outside, in a restricted area labeled "Area Sucia" (dirty area), Marina is interrogated and investigated by the doctor before receiving news of the companion's death. The reason for the mistrust is that the girl is transgender and her ID still carries her male name.
The issue of the movie is not Marina being treated "as it were" woman. She knows herself a woman, full of the love of Orlando (she had recently moved to the apartment), is in mourning for his beloved, and has neither the time, nor the patience, nor the desire to be questioned by issues that are absolutely irrelevant to her for your moment of pain.
He will, however, discover to his despair that Orlando's former family, starting with his ex-wife Sonia, and his son Bruno, rush to take her away from everything that concerns the entrepreneur. At first with the car, then the apartment, and even the Diabla that Marina prides herself on being a gift she received.
Benjamin Echazarreta's camera is nervous, impatient, sometimes hallucinated, showing nuances of a reality that frightens us. In the end, something is returned to Marina. Dignified by her own conviction for the right to respect, security and sexuality, Marina finishes the film by singing an aria of Handel: Ombra mai fu (There was never a shadow).
After a romantic dinner, the couple dance, talk about a trip to the Iguassu Falls in Brazil and, back to Orlando apartment, make love and sleep peacefully, until, in the middle of the night, Orlando felt sick. Going to the hospital, he falls down the stairs and is supported by Marina who caould take him, but not in time: the businessman dies of an aneurysm.
Confined outside, in a restricted area labeled "Area Sucia" (dirty area), Marina is interrogated and investigated by the doctor before receiving news of the companion's death. The reason for the mistrust is that the girl is transgender and her ID still carries her male name.
The issue of the movie is not Marina being treated "as it were" woman. She knows herself a woman, full of the love of Orlando (she had recently moved to the apartment), is in mourning for his beloved, and has neither the time, nor the patience, nor the desire to be questioned by issues that are absolutely irrelevant to her for your moment of pain.
He will, however, discover to his despair that Orlando's former family, starting with his ex-wife Sonia, and his son Bruno, rush to take her away from everything that concerns the entrepreneur. At first with the car, then the apartment, and even the Diabla that Marina prides herself on being a gift she received.
Benjamin Echazarreta's camera is nervous, impatient, sometimes hallucinated, showing nuances of a reality that frightens us. In the end, something is returned to Marina. Dignified by her own conviction for the right to respect, security and sexuality, Marina finishes the film by singing an aria of Handel: Ombra mai fu (There was never a shadow).