Jthere is enormous tenderness in this drama of disillusionment from Colombian director Franco Lolli – but also an extremely callous sense of seriousness and the pain of life. In the lead role, Lolli has cast a non-professional: her cousin, author and scholar Carolina Sanín, and she’s remarkable. With each gesture, each pout of weary patience, she expresses the terrible pressure that her character is under.
Silvia is a single mother in Bogotá. She has a stressful job as legal counsel to an arrogant and slippery public servant, who is clearly plotting to let Silvia take responsibility for a recent perceived irregularity in public spending. She also has to deal with her difficult and cantankerous mother, Leticia (played by the director’s own mother, Leticia Goméz), who has terminal cancer, and her young son, Toni (Antonio Martinez), who is now a victim. bullied at school for not having a dad. The mystery of the absent father is something the film will chillingly reveal later.
Silvia experiences a bizarre upheaval in her emotional life due to a coincidence you might have found in a year-end Woody Allen. She’s aggressively interviewed about the radio spending controversy by a cocky presenter, Abel (Vladimir Durán), and then by an embarrassing quirk of fate she meets him at a party and realizes he’s coming to she.
Bizarrely, they begin what is at first a very happy relationship, much to the furious disdain of his grumpy mother, who finds it a terrible indignity. His disapproval inflames Silvia’s long-suppressed resentment for her inability to give him any support. Silvia’s emotional life continues; the moment-to-moment ordeal of his mother’s deterioration continues; the legal dispute at his workplace continues. Lolli shows that everything is equally important; it’s the whole storm of life that Silvia has to go through without an umbrella.