7.5/10
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Una Mujer Fantástica (2017)

R | | Drama | 2 February 2018 (USA)
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Marina, a waitress who moonlights as a nightclub singer, is bowled over by the death of her older boyfriend.

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4 wins & 4 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
Francisco Reyes ...
...
Gabo
...
Sonia
Nicolás Saavedra ...
Bruno
...
Adriana
Trinidad González ...
Wanda
...
Gaston
...
Doctor
...
Alessandra
Sergio Hernández ...
Singing Teacher
Roberto Farias ...
Medic
Cristián Chaparro ...
Masseur
Diana Cassis ...
Receptionist
...
Paramédico
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Storyline

Marina, a waitress who moonlights as a nightclub singer, is bowled over by the death of her older boyfriend.

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Drama

Motion Picture Rating (MPAA)

Rated R for language, sexual content, nudity and a disturbing assault | See all certifications »
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Release Date:

2 February 2018 (USA)  »

Also Known As:

A Fantastic Woman  »

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2.35 : 1
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Did You Know?

Trivia

Won silver bear for best screenplay in Berlinale 2017 See more »

Soundtracks

(You Make Me Feel Like) A Natural Woman
Written by Gerry Goffin (uncredited), Carole King (uncredited) and Jerry Wexler (uncredited)
Performed by Aretha Franklin
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User Reviews

Glorious. My favourite of the London Film Festival so far
9 October 2017 | by (advicetothelovelorn.blogspot.com) – See all my reviews

This is really, really good.

(opens a can of wasps)I'm always struck by the sky-high ratings on IMDb for bad LGBT movies, and wonder if it's attributable to a) the comparative paucity of these films, meaning that we should celebrate those we get, regardless of their technical or artistic deficiencies (the extension, I suppose, is the tribalistic mindset this engenders, in which you can't judge them as bad films, as they're not just films); b) my lack of insight into what these films should be doing in relation to their audience and LGBT issues in 2017.(/can of wasps)

Anyway, no such ruminations necessary on this one, it's bloody brilliant: a dazzling, poetic, sometimes dream-like Chilean film about a trans woman (Daniela Vega) trying to hold it together – and reach some point of resolution – after the death of her boyfriend. I should mention that his family aren't helping.

Vega has the most fascinating face and the camera makes the most of it, not least in a dazzling nightclub sequence that moves from pain to sensuality to a fantasy dance number, but there's such depth to her characterisation too, and the film's refusal to give her easy, sassy victories is uniquely satisfying, grappling profoundly and humanely with issues that are both specific and universal.

The effect is of a Dardennes story adapted by Almodovar, but I haven't seen anyone like Vega before. I'm not sure she can really sing classical (the best use of 'Ombra mai fu' is now and forever in Humphrey Jennings' seismic short film, Spare Time, Handel fans), but the rest of the music's a treat, with British composer Matthew Herbert delivering an audial dreamscape that like the script, photography and performances serves to conjure a very particular mood.


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