Director/Screenwriter: Alejandro Chomski
By Marilyn Ferdinand
I really like when films creep up on me—tell me I’m going one way and then take a sharp detour to an unexpected destination. Asleep in the Sun is a charming, unnerving film whose picture-postcard, 1950s setting lulls viewers into a sweet dream of nostalgia, only to turn a character’s moderate neurosis into a nightmare for all those in her circle.
Lucio (Luis Machín) is a watchmaker who works out of the boyhood home he inherited from his parents when they died in an accident. He lives with his adored, but troubled wife Diana (Esther Goris), who is fixated on dogs and attached to Prof. Standle (Enrique Piñeyro), who runs a dog clinic. Diana visits his clinic frequently to play with the dogs, and hopes one day to get herself a bitch puppy—females make the best watchdogs, says Standle. One day, the professor comes to Lucio and observes that it is not normal for a person to be so indecisive about choosing a dog. Intuiting that Diana has mental problems, he suggests a “phrenopathic” clinic that will cure her in a matter of mere days, not years of expensive psychoanalysis. Lucio, who has endured separation from Diana before while she pursued cures at other mental hospitals, resists. Eventually, however, he agrees to let Diana try to get well at the clinic. “We must trust the professor,” Diana says.
Bad idea. Lucio is denied access to his wife, something that never happened at the other hospitals. When Diana is released after what the imperious head of the clinic, Dr. Samaniego (Carlos Belloso), says is a complete cure, she doesn’t seem the same. She suddenly likes to take walks and perform fellatio, and she doesn’t recognize her nephews or make her corn pie using her usual recipe. Lucio’s housekeeper, Cerefina (Vilma Ferrán), finds a photo of a woman among Diana’s belongings and thinks there is some connection. When Lucio confronts Dr. Samaniego about the disturbing alteration in his wife’s personality, he puts everyone in his household in danger.
As the movie unfolds, it’s not hard to guess what has happened to Diana, but the journey is so enjoyable and the dawning realization that we’re in a science-fiction horror movie is so surprising that I fell for this movie hard. Visually, it is a complete treat—the vintage cars with windshields that open, the kitschy wallpaper inside Diana and Lucio’s home so bizarre I kept trying to decide what it depicted (I settled on a golfer), the decorative prints on the walls so in keeping with the 50s aesthetic of artificial nature. I loved the cash-register-sized phone in Dr. Samaniego’s office, looking the world like a hotline to hell, and the full-length tile walls in places other than the bathroom, their turquoise glaze giving the room inhabitants a queasy look.
Chomski’s inventive opening—a rapid-moving steadicam at ground level with a slightly hazy focus depicting a dog’s point of view—had me at hello. A dreamy interlude of a dog laying on a raft and drifting on water under a warm sun intrudes at key moments; only slowly do we come to understand what this image signifies and put the pieces of the puzzle together.
Chomski attended the screening, only the second of this film anywhere in the world. He told of the genesis of the film, which arose from his friendship with Argentine writer Adolfo Bioy Casares and his admiration for his novel Asleep in the Sun. The pair talked about adapting the book for the cinema, and when Casares died, Chomski decided to push on. He retained the spirit of the book, though many plot points had to be added—for example, an explanation of what had happened to Diana was devised based on quack-science research Chomski conducted—to render the story coherent. And he decided to film it as a period piece, as originally written, instead of updating it to the present because he felt the story was too delicate to stand up to today’s information-soaked scrutiny. This was, indeed, a great choice.
The actors appearing in the film, great in their quietly comic sincerity, with faces straight out of a Coen brothers film, are well known in Argentina. Chomski said he is very curious to see whether familiarity with these actors will affect how Argentinians will receive the film, and he was gratified to see how we reacted without this baggage to mitigate our perceptions of what was on the screen.
Chomski added a very slight political agenda to the film by showing that people often are powerless to stop bad things from happening in their countries and communities. He used the examples of Americans who opposed the invasion of Iraq and Argentinians who did not want a military dictatorship who had these things foisted upon them with no recourse. Of course, history catches up with every event. I wonder how it will catch up with Lucio and Diana. I heartily recommend that festival goers check out this engaging, sly film.
Asleep in the Sun screens Thursday, October 14, 9:15 p.m., and Monday October 18, 1:30 p.m. The director will be present to take questions. All screenings take place at the AMC River East 21 Theatres, 322 E. Illinois St.
Previous CIFF coverage
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The Matchmaker: Magical coming-of-age drama in which a teenage boy learns a message of love and tolerance from a Holocaust survivor. (Israel)
Ten Winters: Love will find a way, but it takes its time in this wise, realistic story of a young man and woman whose mutual attraction and friendship take some interesting turns over 10 years. (Italy)
Certified Copy: Elliptical tale of seduction by renowned director Abbas Kiarostami in which two strangers pretend to be a married couple in crisis. (Iran/Italy/France)
The Princess of Montpensier: The French Catholic persecution of Protestants forms the backdrop for this period drama about the travails suffered by a beautiful noblewoman desired by four men. (France/Germany)
Cameraman: The Life and Work of Jack Cardiff: Legendary British cinematographer Jack Cardiff and others who knew him discuss his career, including such highlights as The Red Shoes and Black Narcissus. (UK)
Waste Land: A moving examination of the positive transformation of workers in Brazil’s largest landfill when artist Vik Muniz comes to photograph them. (Brazil/USA)
Uncle Boonmee Who Can Recall His Past Lives: This 2010 Palme d’Or winner chronicles the final days of Boonmee using magic realism and experimental techniques to explore universal myths and symbols. (Thailand)
The Last Report on Anna: A dreamy, romantic film centering on Anna Kéthly, real-life Hungarian minister in exile, and a spy’s attempt to silence her by seducing her into returning to their communist-controlled country. (Hungary)