Paraguay’s Academy Award Entry for Best Foreign Language Film: ‘The Heiresses’
Love, the only possible salvation for humanity is explored in a different way in the Paraguayan film The Heiresses directed by Marcelo Martinessi. This is his first feature though he has made shorts and TV series.
This story of Chela and Chiquita, both descended from wealthy families in Asunción who have been together for over 30 years as their financial situation has worsened and they begin selling off their inherited possessions.
When their debts lead to Chiquita being imprisoned on fraud charges, Chela is forced to face a new reality alone. Driving for the first time in years, she begins to provide a local taxi service to a group of elderly wealthy ladies. As Chela settles into her new life, she encounters the much younger Angy, forging a fresh and invigorating new connection. Chela finally begins to break out of her shell and engage with the world, embarking on her own personal, intimate revolution.
Originally the story was about a heterosexual couple. But director-writer Marcelo Martinessi changed the male role in The Heiresses to female. As he explained during the post-screening Q&A at El Gouna Film Festival where I first saw the film, he said that cinema is best approached through women.
He explained that Paraguay itself is a country of women and he grew up surrounded by women. In this, his first film, he wanted the voices of women to be heard, and so, rather than having a male and female protagonist, he decided to tell the story of two women and to shoot in the women’s prison as well.
When asked what he meant by saying Paraguay is a country of women he stated that there had been so many violent wars; Paraguay is known to have a history of “blood and tears” and that has taken a toll on the male population.
The War of the Chaco (1932–35) against Bolivia, killed many Paraguayan men. The entire first half of the 20th century was a period of political instability following strong leadership from the country’s first three dictators. Thirty-one presidents were interspersed with military coups until 1954, when the country’s final dictator, who was to rule for the next 36 years, came to power. Alfredo Stroessner was one of the most ruthless tyrants in Latin America and his brutality has left emotional scars on the modern nation.
It was for the women to rebuild the country after each war. They are the moral fiber of the nation although from afar, with men controlling the government and a pervasive machismo atmosphere, one might think the nation does not have much female influence. But when you look more closely you can see it.
To extend this little lesson in cultural history, although it is extraneous to this film, the indigenous Guarani culture has survived in that about 90 percent of the population speaks Guarani. It is taught in the school along with Spanish. The extended family is the traditional social structure of the Guarani as well, and the women are commonly in charge of administering the resources, and trading items with other clans. This cultural heritage makes Paraguay a nation of women.
The experience of watching The Heiresses is a bit like watching Gloria. Both are made by men with extreme sensitivity to women and they both bring older women to life. The actresses themselves in The Heiresses are not so accustomed to the screen. In fact it was the first film of the star, Margarita Irun (10 years ago she was in theater.) She says, “It was difficult at first to be on screen this way but I took the challenge and am very glad I did.”
Ana Brun said it was also a marvelous opportunity for her. Though she has been in theater for 51 years, this is only her second film and she was happy it showed two women in a long-term relationship.
For all these women in the above movies, deep emotion, buried deep within and borne in silence finally shows itself as an extraordinary inner strength manifesting itself as they move toward loving themselves. With that love discovered, they are liberated. It is that liberation which we hope will give voice and power to 51% of the world’s population with the coming of age of the next generation of women who are witnessing today’s turmoil in the world.
The Heiresses has had 21 wins and 10 nominations in festivals since its Berlinale premiere where it won the Alfred Bauer Prize for best director, the FIPRESCI Prize of the critics and the Silver Bear for best actress, Ana Brun.
At the Molodist International Film Festival where it won the Sunny Bunny Prize for Best LGBTQ Film, Marcelo Martinessi used the word “confinement” to describe his film offering us a privileged look into his native society, the rigidity of its class system, societal interaction and mobility. This is also a film about two women who have built their life together within this structure.
This is a film that, when being presented a governmental award of recognition, saw half the Senate leave the room in protest. On the other hand, it received complete support from the conservative press. This exceptional work is a picture of a society in evolution moving toward openness and inclusivity. The prize was awarded for its daring passion to tell the stories of women, particularly women of a certain age who have dared to embrace desire and break with the comfort of their lives to explore freedom.
In San Sebastián International Film Festival it won the Sebastiane Award for Best Latin American Film.
The Heiresses is a coproduction of Paraguay, Germany, Brazil, Uruguay and Norway, international sales agent Luxbox has sold it to every territory in the world including 1844 Entertainment and Distrib Films for the U.S.
