By Anna Merlan
By Lee Escobedo
By Alice Laussade
By Scott Reitz
By Claire Lawton
By Kiernan Maletsky
By Anna Merlan
We've entered an age in which people have no idea how old they are. Fifty-year-olds lament, "I still feel 30 in my mind," and sometimes dress like it. Some 30-year-olds may cling to the destructive habits of their 20s, but plenty more march dutifully into full-on family-and-career-building mode, perhaps acting older than they need to. Now that people are living and staying healthier so much longer, our self-invention can go on seemingly forever. The bad news is that we're perpetually in between, and sometimes it's hard to know how to be.
The heroine of Chilean director Sebastián Lelio's exuberant semi-comedy Gloria is right in the middle of the fiftysomething version of that in-between. We join her story already in progress but get the idea pretty quickly: Gloria (Paulina García) has been divorced for 13 years and would, quite simply, like to meet a guy. The movie opens at a dance club filled with people around her age. The women are decked out in spindly high heels and vaguely sparkly dresses that stop just short of trying too hard. The men are neatly dressed in jackets, though somehow they all look a little more shopworn, maybe a little less moisturized, than the women do. And still, the women want them. A polite-looking guy strikes up a conversation with Gloria: "Are you always this happy?" It's a wonderful question and a hard one, and it makes Gloria laugh, which is an answer in itself.
By day, Gloria works at some unidentified but stable and well-paying office job in Santiago. She's close to her children, but they don't have as much time for her as she'd like. She has plenty of friends. She lives in a nicely furnished apartment.
Directed by Sebastián Lelio. Written by Sebastián Lelio and Gonzalo Maza. Starring Paulina García, Sergio Hernández, Marcial Tagle, Diego Fontecilla and Fabiola Zamora.
Gloria does meet a guy, the more-or-less dashing Rodolfo (Sergio Hernández), who seems enchanted by her. He looks fit, thanks to the gastric-bypass surgery he readily confesses to. And he too is divorced, though more recently than Gloria. He's a former naval officer who runs an amusement park where paintball figures prominently — that ought to be a deal-breaker right there, but Gloria coasts with it. The suggestion is that a woman Gloria's age can't be that picky — and maybe it really is Rodolfo's only flaw.
Guess again. While much of Gloria tracks the ups and downs of the Rodolfo affair, it's really all an excuse for us to get to know her. Lelio seems to know what he's got in his star. García's Gloria is radiant, in an averagely pretty way. Even her adamantly retro oversized 1980s glasses can't diminish the delicate vibrancy of her features. Gloria looks her age, whatever that means for a woman in her late 50s in this age of non-ages. But the point, as García implicitly makes clear, is that no matter how young you may feel, the whispering reality is that time is running out.
When I saw the movie last year, I overheard someone call it a "midlife crisis drama." The comment was clueless for lots of reasons, most notably because there's no crisis in Gloria at all, which is what makes it so marvelous. It features several sex scenes in which middle-age bodies — really post–middle-age, when you think about it — are fully revealed, yet not gaudily or cruelly displayed. These sequences work as a counterpart to the hungrier, more romantically libidinous ones in Abdellatif Kechiche's Blue Is the Warmest Color — they simmer rather than cook, but they're no less moving.
Gloria doesn't need a guy; she just wants one. This is what desire looks like when it's freed from desperation. A friend in his late 60s once asked me, with genuine, yearning curiosity, "When do you stop wanting it?" Gloria offers an answer for the age of the ageless.
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