Films like A Fantastic Woman, which are so centred on a specific character and their unique experience, just can’t work without the right actor in the part. Fortunately director Sebastian Lelio had the insight to give Daniela Vega, who was originally hired as a script consultant, the lead role – and it’s the performance of a lifetime. As a trans woman struggling to deal with both the unexpected death of her partner and the judgement of his family, Vega’s character Marina accepts the abuse thrown at her with an unflinching demeanour and quiet strength. It’s through Lelio’s direction and the cinematography of Benjamin Echazarreta that we see her frustration and the toll it’s taking on her. One brief moment features Marina walking down the street against the wind, the force getting stronger and stronger until it’s nearly blowing her off her feet. Throughout it all Marina holds strong and pushes through. It’s a wonderfully symbolic and understated moment that demonstrates A Fantastic Woman’s strength for drawing upon the audience’s empathy without feeling as though it had to force a message. It simply didn’t matter how different the life experience of a Chilean transgender woman may be from my own – we connect to her so deeply on a purely human-to-human level as an audience that all I wanted was for her to succeed.
As Marina’s partner, Orlando, Francisco Reyes makes the most of his limited screen-time to ensure that his presence is felt throughout the entire film. The relationship between the two is quickly and efficiently established as one of mutual love and acceptance, and I appreciated how Lelio depicts the opening scenes through Orlando’s perspective to create an immediate connection with the character before his sudden death. His presence or lack thereof is keenly felt throughout the rest of the film as Marina attempts to mourn him despite his family’s objections, occasionally appearing as either a memory or spectre to offer guidance and support. Unfortunately few of the other people Marina encounters are as accommodating, yet Lelio and Gonzalo Maza’s screenplay finely balances both the blatant aggression with more subtle forms of discrimination. Orlando’s ex-wife Sonia (Aline Küppenheim) weakly prefaces her insults with “no offence” as she refuses to accept Marina’s identity, and even a detective (Amparo Noguera) who claims to be an ally assumes that Orlando’s relationship with Marina must have involved abuse of some kind. It demonstrates how while general public awareness and acceptance of trans people has come a long way, there’s still a tremendous amount of work that needs to be done. Fortunately films like A Fantastic Woman are a good start, marking the first film lead by a transgender character to win “Best Foreign Film” at the recent Academy Awards as well as giving Daniela Vega the honour of being the first openly transgender woman to present.
Throughout A Fantastic Woman both Lelio and Vega are able to find moments of honesty and heart, no matter what trials Marina faces. Without giving anything away the film ends on a moment of serene beauty, with Marina in a state of almost serenity. It was a wonderful scene to leave this character on, demonstrating how this genuinely fantastic woman is strong enough to rise above all those who can’t understand her.
4 and a half stars.