Will a U.S. Adaptation Ruin Sebastian Lelio’s <i>Gloria</i>?
When asked about the field research he conducted for his film Gloria, the Chilean director Sebastian Lelio described going out with his mother and her friends. “When I have a drink with them,” Lelio told the magazine Cromos in 2014, “I see things from their side because they’re living something so fierce: a cruel process of disappearance, of becoming invisible in a society in which beauty is understood as an obsession with youth.” Despite his choice of words, the 43-year-old director—who is now working on adapting a version of the 2013 drama for American audiences—didn’t actually make a movie that dismisses women beyond their child-bearing years as “disappearing.”
doesn’t insist on an essential tragicomic sadness in female aging like so many films do. The story’s eponymous hero is 58 and long divorced, checking in at an office job by day, and working Santiago’s swank club-circuit for mature singles by night. Played by a radiant Paulina García, Gloria economy. Instead, she seeks alternative fates on the dance floor, in the narcotic power of Lite FM nostalgia radio and in the companionship of a retired naval officer named Rodolfo (Sergio Hernandez). Mostly, though, even with the specter of abandonment and blindness (she gets a glaucoma diagnosis at one point), Gloria luxuriates in her own selfhood. She’s empathic and open and essentially untethered to the stultifying dramas that confine the lives of those around her, including Rodolfo and her grown children.
