The title: Nosotras Sin Mamá, which could be translated as We Without Mom. The subject: three sisters, Teresa. Amanda and Emma in their late thirties or early forties meet in their childhood home after the death of their mother. The whole movie is an extended conversation whose main subject is the disposition of the house, but ramifies into other subjects. Emma lives abroad and seems to have no need for money, Amanda's husband has cash flow problems and she needs to sell (or to borrow from her sisters). Finally, Teresa, who seems to have been closest to their mother in her last days, wants to keep the house (which in a serious state of disrepair). In the course of the conversation we learn snatches of information, glimpses into the three sister's lives;.
The conversation takes place mostly in the large, sun drenched, overgrown and unkempt backyard, and at times in the interior of the house, in near darkness; shutters have been closed to mitigate the heat. There are no other characters except for a real estate agent briefly seen appraising the house. Other characters are heard but not seen, like the mischievous children in the house next door or the locksmith trying to open the stuck front door from outside, (the closed door accentuates the sense of confinement and isolation).
This is it: just a conversation., but the director has skillfully avoided the feeling of filmed theater. The three actresses are excellent and black and white cinematography is beautiful and fits the tale. I found the film fascinating, and my interest did not flag at any time. This is director María Eugenia Sueiro's first feature fiIm, Regrettably, I could not find a way to stream her second, El Tío (2019)
The conversation takes place mostly in the large, sun drenched, overgrown and unkempt backyard, and at times in the interior of the house, in near darkness; shutters have been closed to mitigate the heat. There are no other characters except for a real estate agent briefly seen appraising the house. Other characters are heard but not seen, like the mischievous children in the house next door or the locksmith trying to open the stuck front door from outside, (the closed door accentuates the sense of confinement and isolation).
This is it: just a conversation., but the director has skillfully avoided the feeling of filmed theater. The three actresses are excellent and black and white cinematography is beautiful and fits the tale. I found the film fascinating, and my interest did not flag at any time. This is director María Eugenia Sueiro's first feature fiIm, Regrettably, I could not find a way to stream her second, El Tío (2019)
