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In the midst of a silent divorce, Isabel (Nailea Norvind) leaves the city with her two children for her family's abandoned country house. She soon discovers that the sister of her housekeeper, Maria (Antonia Olivares), has gone missing. When Isabel offers her help, an unspoken pact to find the missing one is born between the two women. Meanwhile, Roberta (Aida Roa), the police commander in charge of the investigation, tries to get her son (Daniel Garcia) out of the cartels. The countryside is mined with confusion and danger, but regardless of these circumstances, determination in the face of destiny subsists.
Robe of Gems’ (Manto de Gemas, 2022) long, languid, opening shot gives a taste of the rural Mexican state of Morelos, exquisitely resembling a Realist painting in its depiction of a wild garden. Engulfed by the high-pitched buzzing of insects on a sweltering day, it creates a lethargic atmosphere that hints at the sensorial experience. <a class="view-article" href="https://soundsandcolours.com/articles/mexico/robe-of-gems-arresting-debut-looks-at-three-interconnected-women-amidst-mexicos-drug-trafficking-arena-71140/">Read Article</a>
After an online-only edition in 2021, this year’s Berlin International Film Festival kicked off on February 10 and, for the first time since 1992, I chose not to attend. The first weeks of the year had seen Omicron case numbers surging wildly across Europe; exactly a month before the event began, Germany hit a daily record of 80,000 new cases. To insist on staging it as an in-person event seemed to me both reckless and tone-deaf – and to then refuse any provisions for online screenings, on top of that, just felt arrogant.