IFFR 2020 - Desterro
INTERNATIONAL FILM FESTIVAL ROTTERDAMMaria Clara Escobar’s Desterro follows a young couple’s relationship through various routines and distant interactions. Desterro is a film with many metaphorical devices that allow for insightful shifts in perspective. However, these redeeming qualities seem to fall short in comparison to the lack of overall consistency and structure that the film offers.
The structure of the film is organized into three chapters. These chapters, however, are arranged in a unique order. The first chapter acts as an introduction to the strained relationship of Laura, played by Carla Kinzo, and Israel, played by Otto Jr. This is followed by the third chapter, in which Otto’s character must deal with the many technicalities that come with Laura’s sudden death during her solo trip to Argentina. The film concludes with the second chapter that strives to discuss the immediate actions proceeding Laura’s spontaneous death. While this arrangement is unique, it ultimately does not achieve its intended purpose of being astute or perceptive. There are many characters and pieces of dialogue that often come out of nowhere with no sense of direction. These details serve merely as brief distractions from the actual plot and drone on for longer than they should.
Womanhood is a common theme expressed in Desterro, most notably in the second chapter. This is demonstrated through the monologues given by women that cross paths with Laura on the bus to Argentina. By allowing other life experiences and perceptions of womanhood to come forward, audience members become more empathetic towards Kinzo’s character’s spontaneous decisions. These testimonials reveal a more deliberate theme placed within the film: the social constructs and gender stereotypes experienced by women. Nonetheless, these powerful lectures heavily distract from the plot and increase the runtime drastically.
The lack of a score is also very evident throughout the film. The first song is not played until more than an hour in. However, the relief that this provides fades quicker than it comes. After this brief occurrence, music can only be heard two other times towards the very end of the film. This leaves the vast majority of scenes feeling bland and lacklustre at a failed attempt in naturalism. Several ordinary conversations could have been enhanced to a much higher degree if there had only been more to offer. Unnecessary conversation with routine dialogue truly does not convey its intended true-to-life tone in the case of this film. Instead, it resonates closer to a dull outlook on what has the potential to be an insightful take on the characters internal struggles.
While many details of Desterro may fall short to its intended goal, Escobar’s direction is a generally engaging experience. The accentuated tone of exile and lonesomeness is prominently demonstrated through various camera angles and shots. This point is also made abundantly clear from the very beginning. This is most distinguishable in dining scenes, where the couple faces opposite directions and rarely look at one another, which further highlights the strain on their relationship. Escobar’s direction also emphasizes this strain by masterfully showing the contrast between their conversations versus how they actually feel. The duality between what is done as opposed to what is felt helps to develop a greater contrast between the two characters. Whether that be through long takes where a single character is in frame or someone staring longingly through a window, the direction sheds light on how isolation affects these individuals.
Desterro, at its core, is a commentary on the walls society builds around its people. These are the same walls that have the most significant impact on Laura and Israel’s relationship. These constraining circumstances serve as a reflection on the need to escape traditional norms, in hopes of returning to a less restricting society. This ideology is especially highlighted in the final moments of the film, where death signifies a sense of rebirth and new beginnings.
Escobar’s film attempts to capture a plethora of emotions and subplots. However, due to the overwhelming amount, none of them can fully resonate with audience members. These distractors seem to weaken the overall plotline over the course of time and lack much-needed closure. While there are a handful of redeeming qualities in this film, the mundane aspects of the film ultimately outweigh them.
