You might not think there would be much drama in the life of a live-in domestic. Think again. The Maid (La Nana), the second feature from Chilean director/writer Sebastian Silva, is a fascinating study of an occupation that, honestly, we usually dismiss. Not Silva. Working with co-writer Pedro Peirano, he peers right into the soul of the title character. Key to making it all work is a multi-layered performance by Catalina Saavedra as the maid. Her cryptic moods and puzzling actions pull us in from the very first haunting shot of her eating alone at a table. What is going through this woman’s mind?
After working 20-plus years in the same household, Raquel (Saavedra), is considered a member of the family by its matriarch Pilar (Claudia Celedon) and her husband Mundo (Alejandro Goic). (Their last names are never given.) Raquel is even closer to their four children --Camila (Andrea Garcia-Huidobro), Lucas (Agustin Silva), Tomas (Darok Orellana) and Gabriel (Sebastian La Rivera). After all, she’s been with them every day since they were born.
But despite the family celebrating her birthday and trying their best to show their appreciation, Raquel realizes all too well that she is still an employee. She floats in a netherworld with little connection to her actual family and only a fleeting emotional closeness to the family for whom she works. There is no personal life -- no friends, romantic pursuits or personal interests. Her whole life is dedicated to running a smooth household.
The strain of this devotion to her job is starting to take its toll. For no explainable reason, she has become especially surly towards Camila, the family’s only daughter. Though Lucas is her favorite, she also gives him trouble. In the throes of puberty, he is pleasuring himself (and thus soiling the bed sheets) at night. Upset that she has to change the linens each morning, Raquel tells his mother. Lucas, understandably, is not too pleased.
Raquel is also suffering from excruciating headaches. Even the constant popping of pain pills doesn’t bring relief. When the problem escalates and she begins to faint, Pilar comes to the conclusion that Raquel needs someone to help her with her daily duties.
Raquel is horrified. The last thing she wants is a stranger encroaching on her territory. There is also the underlying fear that she could be replaced by a youthful version of herself. And this is when The Maid gets interesting. Raquel does battle with a series of new hires, ruthlessly making sure none gets a foothold in her household. Her efforts, which provide some of the funniest moments in the film, at first succeed. But ultimately, the changes forced on Raquel changes her in a way she never could have dreamed possible.
There is such a xenophobic attitude towards foreign cinema in the United States, it’s always a treat to see a film from another country make it to these shores. And it’s especially a pleasure when it’s one as intriguing as The Maid. Winner of the World Cinema Jury Prize Dramatic, and World Cinema Special Jury Prize for Acting at this year’s Sundance Film Festival, it is as far from the typical Hollywood fare as you can imagine. If you’re in search of explosions, special effects, car chases or juvenile humor, skip this one. The Maid is essentially a one location character study. It is also full of humor, full of life and full of human insight. The Maid has it all. The only thing it doesn’t do is windows.
Tuesday, October 13, 2009
