Sebastian Lelio manages to draw the audience’s attention to the inner world of the Mariner and its outer life from the language of classical cinematic narrative.
Daniela Vega as Marina Vidal in Lelio’s A Fantastic Woman. (Photo: IMDB)
It is the fifth feature film by Chilean director Sebastian Lelio to win the Oscar for Best Screenplay at the 67th Berlin Film Festival and the Best Foreign Language Oscar at the 90th Academy Awards. Perfect woman The movie (a Fantastic Woman) is meeting the audience in the movie nowadays. In a process where the voices of the LGBTI + movement are being silenced, proud parades are being banned, transgender living space is being increasingly restricted, hate crimes against sexual identities other than marginalization and heterosexuality are not supported by law, and most activities are banned in Chile. A trans man is killed by his lover. A film that deals with exclusion, marginalization, and physical and emotional violence. Perfect woman. The 2017 film, co-authored with director Lelio Gonzalo Mazar, uses the example of a trans man to show how people who are not their own, who do not think, do not feel and do not live their own lives, are isolated and ignored. And humiliated in society. In the opening sequence of the movie, the enthusiastic flow of Iguazu Falls and the story of Orlando, who massaged in the sauna. Life becomes a difficult struggle for Mariner (Daniela Vega) with the sudden death of Orlando, who lives a harmonious and happy relationship with her ex-boyfriend Orlando (Francisco Reyes). Marina, who lives as a waitress in a cafe and sings in a bar and recently settled in the home of her boyfriend, a textile factory owner, flew to Orlando, who fell ill unexpectedly on his birthday night, to the hospital without delay, but Orlando Dies. From that night on, he was seen as a potential problem with the hospital doctor, the police, his family members, the social worker and his identity. Orlando’s son, Bruno Mariner, goes to the house and chases Dibala, his dog, out of the house. Orlando’s ex-wife Sonia Mariner confiscates the car and forbids him to attend his ex-wife’s funeral. Director Lelio explains how a trans person is often directly and ruthlessly, but subtly marginalized, from the family, to the smallest institution in society, to health, safety and social services, to the problems that a trans person experiences through a universal theme. Such as love, loss and death, and how Marina is against it all. She skillfully reflects on the screen how she is fighting for her own existence. Throughout the film, Lelio does not allow viewers to identify or judge Marina, on the contrary, she describes in detail the difficulty of living in a society as a transgender person without having the opportunity to face the pain of loss. In the identity she feels and the identity imposed on her from the outside, Marina is forced to walk alone against all institutional structures. With the sudden death of her boyfriend, she is seen as a suspect, a “chimera”, who first encounters the doctor’s suspicious question, is interrogated by police on the street, is humiliated by her boyfriend’s ex-wife, her son, and hopes to quietly disappear. Being done. Maria’s anger, forcing her to move out of the house she shared with her boyfriend, forcing her to hand over the car, the name and identity she identified as suspicious, forcing her to be examined, her dog being taken away from her, or her boyfriend saying goodbye. Allowing the disclosure, the sudden inclusion of all in his private space and against all injustices committed against him. Instead of giving up in the face of all these accusations, he chooses to fight himself like a detective, fearlessly, sometimes turning into a dark hero who stays away from being exaggerated in the tide of his emotions. And instead of an audience that is concerned about Marina, who is constantly marginalized and marginalized, the director demands respect throughout the film, an audience that stands behind her just struggle and successfully makes it possible. Through the example of a transgender person living in Santiago, the Chilean capital, Lelio draws attention to the difficult lives of transgender people around the world and how they can face emotional and physical attacks at any time. In doing so, the director manages to place a character at the center of the film in his most normal state and form of struggle, away from an educational language, and those who are marginalized in society. The streets of Santiago are presented from the perspective of the Mariners, including its various locations and institutions. While the marina travels through different parts of the city and places, visitors are with her both inside and outside the city, her fragile life is open to being marginalized at any moment. Thus, homosexual attitudes and behaviors perceived in both society and society’s institutions as opposed to various sexual orientations and identities such as homosexuality, bisexuality, and transsexuality are expressed through the experience of a transgender person.
Although there is a ban on the celebration of Pride Week in Turkish universities, especially in recent years, these problems are not only confronted by individuals in the public sphere, where LGBTI + identities are ignored, accepted, and excluded outside the understanding of patriarchal heterosexuality. And they are forced to face all kinds of snatching and violence in every moment of their daily lives. We are confronted with the fact that it is not protected by law, and especially since the 90’s, they have been trying to seize the opportunity to make their voices heard. With their organized struggles and to raise awareness about their problems. The Istanbul Convention, which requires the state to take protective and preventive measures against all forms of violence against women and domestic violence and sexual offenses, will end in 2021, and exclusion speeches against LGBTI + individuals are constantly on the agenda by state officials. And the national newspaper. It is very difficult to legitimize their attitudes and engage in an organized struggle and a complete struggle against their visibility in the public sphere, and it is important to support both the organized struggle and the struggle of the LGBTI + movement. Restore the Istanbul Convention, as a completely won right. In this context, director Sebastian Lelio tells the story of a Chilean trans man who struggles alone and silently with all levels of violence against all institutions of society. Perfect woman While exposing the aesthetic language of cinema in his films, he draws attention to both a universal problem and an always important problem in the world. Because gender identity cannot be imposed from the outside and it is an essential human right that the life rights of people who do not define themselves in the traditional categories of men and women should be protected in all cases by the constitutional guarantee of the state.
From the language of a classic cinematic narrative, Sebastian Lelio manages to draw the viewer’s attention to the Mariner’s inner world and its external life, and invites the viewer to travel and awaken on an intellectual basis rather than emotionally engaging the film. In 2013, he discussed the journey of an unmarried woman in her 60s. Gloria And Disobedience (2017), where she deals with the relationship between a married Jewish woman and her childhood friend, Lelio successfully portrays people who are beyond the acceptance of society and their lives, and through this film, Lelio manages to bring their experiences to a single trans. In its simplest form, beyond the masculine understanding of the individual audience.
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