Lola Arias, actress, writer, and theater director, ventures into the world of cinema behind the cameras in 2018 with Teatro De Guerra. Her second film, Reas, is presented at the 74th edition of the Berlin International Film Festival and tells the story of Yoseli and her new home through the bittersweet lens of a musical comedy.
The young woman, accused of drug trafficking due to a set-up, must serve her sentence in a women’s correctional facility. Here, her dream of escaping to Paris, symbolized by a tattoo of the Eiffel Tower on her shoulder, temporarily fades away. However, despite her initial resistance, which showcases her strength and independence, and her belief that she doesn’t need anyone, she is wholeheartedly embraced by a group of inmates who end up there by chance but eventually love and support each other by choice. A true family is born within the confines of those prison walls, nestled in the heart of Buenos Aires. This family consists of Nacho, a transgender young man arrested for fraud, who not only gets married and divorced in prison but also forms a rock band – a testament to how life goes on – and a diverse group of free women, cisgender or transgender, single mothers or wounded lovers, newcomers or those who have been there for a while. Each with their own story, their own perspective, something to share, joys and sorrows, perhaps someone waiting for them outside, or perhaps not.
The film is imbued with vibrant tones, mirroring its vibrant characters, the vivid colors of joy and solidarity, which are the true values conveyed by Reas, which features more or less interesting directorial choices that make it a hybrid musical work, blending fashion, concerts, songs, and emotions. It is all set curiously, as the protagonists sing and dance even in an amateur manner – giving the film a touch of realism that breaks the surreal tone that is inherent to musicals.
There are moments of empathy and emotion. However, they are occasionally dampened by naivety that, although not discordant with the atmosphere of Reas, leaves something to be desired. For instance, the choice of narrating personal moments shared by the inmates through theatrical flashbacks reenacted by the same incarcerated protagonists wearing different roles seems to come from a good place but ends up in a bad one. This means that the idea behind it – possibly Lola Arias’ intent to emphasize the unity of this new family nucleus and intimacy, as if they were the only ones left, even merging with the prison guards – is a fascinating one. However, the result might raise eyebrows and create friction among viewers, as it occasionally appears modest.
A couple of moments towards the end help alleviate the shortcomings and missteps that came before, such as the final scene at the pool or the concert performed in front of an audience mostly composed of relatives. These moments compensate with sincerity and sentiment for what may be lacking in narrative and stylistic subtleties.
In conclusion, Reas represents the attempt of a multidimensional artist whose original vision perhaps did not achieve the desired outcome or the potential it could have had.
Nonetheless, it testifies to a talent that should be taken into account for future, more mature works.
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