In the Chilean feature La visita, not a son but a son-turned-daughter comes back home for her father’s funeral. She named herself Elena (Daniela Vega) when she decided she would become the woman she was deep inside. That is to say, right after she left the house where she lived with her mother, Coya (Rosa Ramírez), a live-in housekeeper who has been working for a traditional upper-class family for far too long.
In a conservative society, Elena had to leave her hometown, her mum and her neighbours to find her way. Up until then, she had been Felipe, and this is the first time her mum and her employer see her as Elena. What she awakens in others, how others perceive her and how she perceives herself is the stuff Mauricio López Fernández’s first film is about. Imagine a recollection of everyday moments, brief scenes where Elena reestablishes her lost bond with her mum in addition to trying to fit in a world that is now foreign to her.
Also, La visita is about a world where women are sometimes at odds when male figures are absent. However, other times they are freer, more in charge of themselves. When unexpected transformations take place, perhaps a new order may be created.
For a character study, many of the observations are of interest as they reveal what matters most with certain pre-established social boundaries. It’s particularly thought-provoking to see that, while different sexual orientations can be accepted (or at least politely respected), class differences still rule a universe where there’s never a shadow of a doubt as regards who gives the orders and who simply obeys them.
The tale is meant to be minimalist and to somehow go beyond what can be seen at first sight, and whereas there are a handful of scenes which achieve this exploratory, introspective approach, it’s equally true that many other scenes are only descriptive and anecdotic. La visita is the type of film that intends to be transcendental but is often inconsequential. It has its good moments, but it has too many others that don’t add much to a not-so-deep exploration of gender and class frictions. The thing is that the premise held far more potential that never quite materializes.
On the formal side, the cinematography by Diego Poleri is worthy of mention. With subtlety, a smooth and unobtrusive camera bears witness to slices of life that speak of the ambiguity of a larger universe. And while the performances are not what you’d call striking, they are effective enough to render a credible drama. But when all has been said and done, you may still feel that you’ve been led to know more about these characters, and yet you’ve been shortchanged.
It could be argued that the filmmaker is only interested in showing you the tip of the iceberg, and perhaps that could be true. Still, in this case it’s the entire iceberg that holds more revelations, and not just the tip. For less is not always more.
Production notes
La visita (Argentina, Chile 2014). Written and directed by Mauricio López Fernández. With: Daniela Vega, Rosa Ramírez, Claudia Cantero, Carmen Barros. Cinematography by Diego Poleri. Editing by Valeria Hernández. Running time: 82 minutes.
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