Gloria

Not rated yet!
Director
Sebastián Lelio
Runtime
1 h 45 min
Release Date
10 February 2013
Genres
Comedy, Drama
Overview
Gloria is a 58-year-old divorcée. Her children have all left home but she has no desire to spend her days and nights alone. Determined to defy old age and loneliness, she rushes headlong into a whirl of singles’ parties on the hunt for instant gratification – which only leads to repeated disappointment and enduring emptiness. But when Gloria meets Rodolfo, an ex-naval officer seven years her senior, she begins to imagine the possibility of a permanent relationship.
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Ica Reviews1
Aryan Skynet



(Reviewers' Site/Bio)

⚠️ 𝐄𝐃𝐆𝐘 🔥 𝐂𝐎𝐍𝐓𝐄𝐍𝐓 🔥 𝐖𝐀𝐑𝐍𝐈𝐍𝐆 🔥 (𝐍𝐒𝐅𝐖?) ⚠️

🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻


  • Gloria ****1/2


    Full disclosure. Your humble reviewer, stopping on a whim at his neighborhood Redbox machine to see what was newly available, quickly picked Gloria for no other reason than the disclaimer that it contained graphic nudity. Not realizing that this would be a serious foreign film requiring him to read subtitles, he ate his movie vegetables, as it were, by accident.

    Set in Santiago, Chile, Gloria is the story of a lonely divorcee (Paulina Garcia), a professional woman and recent grandmother, who finds herself torn between dignity and sexual fulfillment. Somewhat nerdy but still shapely and graceful in her maturity, Gloria thinks she may have met the answer to her quiet yearnings in paintball park proprietor Rodolfo (Sergio Hernandez), a man who gives increasing evidence of neurosis.

    Gloria very much belongs to lead Paulina Garcia, a fascinating actress whose versatile face and nuanced expressions command the viewer’s undivided attention. Even had the script by director Sebastian Lelio and Gonzalo Maza not been so finely worked and surprising, the film would be worth seeing if only for the presence of Paulina Garcia. Eccentric, disturbing, and warmly human, Gloria gets this critic’s high recommendation.

    5 stars. Ideological Content Analysis indicates that Gloria is:

    10. New Age. Gloria takes a yoga lesson.

    9. Marginally pro-miscegenation. Gloria’s daughter Ana (Fabiola Zamora) is involved with a Swede (Eyal Meyer), which is arguably a mild instance of interracial relationship. However, Chileans, particularly those living in Santiago, are of predominantly European descent, and resemble Spaniards in their attractiveness.

    8. Anti-Christian. Gloria tries to hide her condescension as her maid (Luz Jimenez) talks about the Genesis flood and tells a story about cats issuing from a lion.

    7. Racist! Gloria and Rodolfo, practicing at a firing range, shoot at a target representing a “black figure”.

    6. Drug-ambivalent. Marijuana plays a role in Gloria’s new assertiveness. Her tobacco habit takes on varying shades of character depending upon the emotional context – sultry and sophisticated smoking after sex, or an anxious person’s prop in her moments of doubt. One smoker is reminded not to light up in the presence of a pregnant woman. Humiliation, despair, and overindulgence in drink drive Gloria into the arms of a random slob for a degrading one-night stand.

    5. Anti-marriage. The protagonist’s ex-husband (Alejandro Goic) is an undependable drunkard. Rodolfo, like Gloria, is relieved to “finally” be divorced. Ana, a happy tramp with a pierced nose, is unashamedly pregnant with her Swedish lover’s bastard.

    4. Anti-family/antinatalist. “Don’t be born, man! Don’t be born!” despairs one of Gloria’s neighbors. Rod...

    ...
    (Review Source)

Debbie Schlussel1
The New York Post



(Reviewers' Site/Bio)

  • Weekend Box Office: The Monuments Men,Vampire Academy, Gloria
    Blog Posts Movie Reviews Gloria“: Just awful. A Chilean movie (with English subtitles) about a post-middle-age, divorced cat lady, Gloria, who is seeking a date and sex. She meets a formerly fat guy who had stomach-stapling surgery and begins a sexual relationship with him. But he is constantly leaving her for his daughters and ex-wife who rely on him for money and help. Then, she dances at a disco to the Spanish version of the ’80s hit song, “Gloria” (originally sung by the late Laura Branigan). The end. Yes, this is actually a “movie.” I know–incredible. I could not have been more bored and disgusted. Slow, boring, pointless and chock full of more frontal nudity and crotch shots of this post-middle-age chubby zaftig chick than I shall ever need to see. Ever. Ick. BARFitudinous A time bandit that stole two hours of my life I’ll never get back. Dreksville. FOUR MARXES ]]>
    ...
    (Review Source)

The American Conservative Staff1
The American Conservative



(Reviewers' Site/Bio)

  • List, List, O List: a Premature 2014 Movie Rundown
    (”Gloria” is briefly mentioned in this.)
    Any attempt on my part to assess the year in film is bound to be inadequate, because there are just too many films I know I ought to see that I haven’t seen yet. Moreover, that list of “oughts” has already been shaped by the reactions of other critics; it’s already too late for the joy of discovery that I felt, say, attending a screening of “A Girl Walks Home Alone At Night” back in January, before everyone had heralded Ana Lily Amirpour’s Persian vampire noir western as the hot new thing. And anyway, films are largely incomparable across genres. Which was a “better” film, “Boyhood” or “The LEGO Movie?” It’s kind of a silly question – they aren’t trying to do anything remotely comparable. Nonetheless: posts must be blogged. So: let’s start with the critical consensus. The nice folks at Metacritic have compiled a meta-list, combining the views of 137 different critics on what they think are the top ten films of the year, for a meta-list of 20 films. Herewith: 1. “Boyhood.” My feelings about the film tracked very closely with Eve Tushnet’s. I admire the experiment, and I was drawn in deeply during the first hour. But in the last hour I found myself far more interested in the parents than in the titular boy, which to me feels like the film didn’t achieve all that it set out to do. 2. “The Grand Budapest Hotel.” I am a great admirer of Richard Linklater’s work, which is why I was surprised that I didn’t respond to “Boyhood” with raptures. Wes Anderson I am much more ambivalent about. But “The Grand Budapest Hotel” was for me a sheer delight from end to end, and may even have become my favorite Anderson film, because for once I felt his fussiness was fully justified by the film’s subject and setting. Leon Hadar’s thoughts on the film are also very worth reading. 3. “Under the Skin.” I posted my reactions to this creepy Scarlett Johansson sci-fi flick here. Its highly original vision has definitely stuck with me. Rent it. 4. “Birdman or (The Unexpected Virtue of Ignorance.” I posted my thoughts on “Birdman” here. I think it’s a tour-de-force. 5. “Selma.” A film I have not yet seen, and plan to, though I fear I won’t like it. I don’t tend to like pious movies, regardless of the object of piety, and I fear this will be one. 6. “Whiplash.” I wrote up my thoughts on Damien Chazelle’s film here, and then followed up with additional thoughts here, but I continue to chew on it. “Whiplash” is very worth seeing, but it irritated me, and I wonder whether that reaction says more about me than it does about the film. 7. “Ida.” Near the top of my list of films I need to see. 8. “Gone Girl.” Amazingly, I still haven’t seen this film. I begin to suspect I’m avoiding it, and I’m not entirely sure why. 8. “Inherent Vice.” I’m only falling more in love with P.T. Anderson with time, and am very eager to see his latest. 10. “Nightcrawler.” I find myself away from the pack on this one. Jake Gyllenhaal’s Louis Bloom seemed like he had dropped to earth from Mars in the first frame. What, I wondered, did he do the day before the film began? The month before that? The year before that? I found no really plausible answer to these sorts of questions. Nor did I buy this young man’s sudden transformation from bizarre recluse to a ruthlessly effective manipulator of other people. The film presents itself as a dark satire – I kept thinking it was trying to be a noir-esque, indie-scale “Network” – but I never felt like the satire connected with anything terribly specific. 11. “Mr. Turner.” Another one near the top of my list of films to see. Mike Leigh is a wonderful filmmaker, and I specifically adored his last foray into biopic. 12. “Force Majeure.” I haven’t seen it yet, but hope to do so. 13. “Goodbye to Language.” Haven’t seen it yet, clearly need to – it’s actually somewhat relevant to a script I’ve written. 14. “The Immigrant.” Jeepers, I haven’t seen this one yet either – and this one wasn’t even on my list of want-to-sees. From the description, the film sounds like an Isaac Bashevis Singer novel, which makes me want to see it to see if that’s how it plays on-screen. 14. “Foxcatcher.” I wrote up my thoughts here – definitely an intriguing film, worth seeing for three notable performances. 16. “Only Lovers Left Alive.” I described “A Girl Walks Home Alone At Night” as a “Jarmusch-esque” vampire flick without having seen Jim Jarmusch’s own vampire flick. I suppose I have to find out which is more Jarmusch-esque: the actual Jarmusch or the homage? In any event, Eve Tushnet’s always-worthwhile thoughts can be found here. 17. “Two Days, One Night.” I am extremely eager to see this film, largely because I read Eve Tushnet’s review. 17. “The LEGO Movie.” My thoughts on this interlocking brick system of a movie can be found here. A much, much better film than it needed  to be. 17. “Snowpiercer.” This extremely stylish and idiosyncratic action-flick-cum-allegory of global inequality was far darker than I had expected. Indeed, inasmuch as it has a clear politics, those politics are almost pure anarchist rage. Far from presenting a brief for revolution, the film paints a deeply bleak and pessimistic picture of the choices before humanity in an age of scarcity driven by ecological impoverishment. 20. “Citizenfour.” Another film I need to see, but that I expect not to be enraptured by as so many have been. So I’ve only seen 9 out of 20 of the films that comprise the aggregated “critics’ picks” list. Not a particularly impressive showing – though I expect to improve upon it substantially over the next month or so. Meanwhile, what’s missing from this meta-list in terms of my personal  faves of the year? And what else am I eager to see that I haven’t gotten to yet? Not necessarily films that I would put on any kind of “Top 10” list, but all worth renting, are: “Frank,” “Listen Up Philip,” (reviewed here), and “The One I Love.” All extremely well-written films, and all films that would work just fine on a small screen. Films about prickly, difficult male artists (a theme of the year), and about the cold war between the sexes. And two doses of Elizabeth Moss to boot. What am I eager to see? Apart from those mentioned above, I’d add “Wild,” “The Babadook,” “The Overnighters,” “Big Eyes,” “Leviathan,” and “A Most Violent Year,” plus (from stuff I missed from earlier in the year) “Gloria,” “Calvary,” “The Dog,” “The Blue Room,” and “Jodorowsky’s Dune.” ]]>
    ...
    (Review Source)

The Federalist Staff1

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