Argentine writer-director Paula Hernández likes to explore what happens when characters from different worlds are thrown together. In her latest, “The Sleepwalkers,” which world-premiered in Toront…
Argentine writer-director Paula Hernández likes to explore what happens when characters from different worlds are thrown together. In her latest, “,” which world-premiered in Toronto’s Platform competition before moving on to San Sebastian, the focus is on a discontented mother and her sullen, newly pubescent teen daughter, as they spend a New Year’s holiday in close quarters with three generations of extended family from the patriarchal side.
Hernández is particularly good at capturing the fraught relationship between the protective Luisa and the moody adolescent. Ana cruelly rejects her mother’s attentions while staring raptly at her pinging cellphone, and then turns to her father for the permissions that Luisa has denied her. Meanwhile, as the cousins go tramping in the woods and swimming in the stream, Ana uses her phone to take photos of Alejo’s lithe naked body.
In contrast, the ever-watchful Luisa, continually finds herself smoothing hurt feelings here, sorting out the baby there, and helping elderly housekeeper Hilda with the management of the house and the meals. Even though she’s running behind on her work as a translator for the family’s literary publishing business and would really like some time for herself in order to work on her own writing, her maternal instincts are on overdrive, as she senses some threat to Ana.
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