There are all kinds of ‘festival films’. Some are destined for special genre strands, some are début films, some are from star directors and come with promotional material. And then there are films that only seem to make sense in a festival setting. I generally like to watch films ‘cold’ in a festival. Partly, I want to get a sense of how audiences might respond. Too Late to Die Young seems to refer to the rush of growing up and indeed this is a ‘coming of age’ film of sorts with three central characters. The credits told me that it is a festival ‘workshop’ film – a film supported by major festivals and funds such as Sundance, Doha and Hubert Bals Fund on the basis that its 33 year-old director Dominga Sotomayor is ‘one to watch’ and this third feature is being supported for wide festival circulation. My worry is that audiences might struggle to place its story despite some excellent performances.
As the film began I found it difficult to locate the story, partly because of the list of co-production countries. At one point somebody mentions Mendoza which I recognised as a city/region in Argentina, but then more references appeared which pointed towards Chile. But where in Chile? I didn’t know that Ñuñoa is a middle class district on the eastern outskirts of Santiago. The actual setting is a commune up in the hills above the city which can finally be seen in the distance later in the film. But when is the story set? I’ve seen enough Chilean films to know that the Pinochet dictatorship is still a central factor in Chilean narratives but I don’t think there was any direct reference here. The clothes and battered old cars could come from any time in the past thirty years since the community in which they appear is perhaps best described as an ex-hippy arts/crafts/music commune. I should have noticed there weren’t any mobile phones or tablets and that the music seemed to be from the 1980s but it wasn’t until after the screening that I learned that it was meant to be the December (i.e. Summer in Chile) of 1989 or possibly 1990, the year that Pinochet stepped down as dictator of Chile. The film isn’t directly interested in politics as such but it seems odd not to display the contextual references – I must have missed something. I was made sleepy by the langourous feel of parts of the film. I suspect that the reviewers who gave it positive reviews at Locarno and Toronto had detailed press notes. Audiences for a standard release won’t have access in the same way. Now that I’ve read those Press Notes and several other sources it all makes sense. Dominga Sotomayor was judged ‘Best Director’ at Locarno, a festival that is trying to develop its profile as a major festival with a different overall stance to Cannes, Venice etc. Sotomayor is the first female winner at Locarno.
Dominga Sotomayor was herself brought up in an ‘ecological commune’. Her script is inspired by the real-life events of January 1990 witnessed by the writer-director as a young girl. She was only four or five at the time and as part of her research she watched some VHS tapes of the period shot around the commune. From these came some inspiration for the ‘look’ of the film and also something of the ‘timelessness’ of the narrative. Her principal character is Sofía (Demian Hernández), a young woman of around 16-17. In her first role, Ms Hernández is certainly an arresting presence. Tall and slim with fine cheekbones, long legs and boyish hair she is very striking and seemingly out of reach for her childhood friend Lucas (Antar Machado). She’s already looking out for the older young men who visit the community. Lucas is a budding guitarist and Sofía plays the accordion. Her father is a luthier. Her mother is absent but expected at the New Year’s Eve party which is the endpoint of the narrative. 10 year-old Clara (Magdalena Tótoro) is the third central character, a kind of bridge between the older and younger children in the community. Clara’s pregnant mother is a well-known actor who has to sign autographs when she is out and about.
I’m certainly in agreement with the reviewers who praise the performances and the cinematography by Inti Briones as well as Dominga Sotomayor’s direction. Although the film is not directly concerned with politics, it is definitely concerned with social class (though the director does not talk about this, so it is my reading rather than a stated intention). This manifests itself in the several ways in which this distinctly middle-class artistic community rubs up against local people in the foothills of the Andes. In one specific example there is a tricky interaction with a family of indigenous people. In other instances the commune suffers break-ins and someone tampers with the water supply. The hinterland of Santiago is not 1960s California and middle-class communes are not universally welcomed. This scenario has echoes in some other Latin American films I’ve seen over the last few years. These artists are not as arrogant and aggressive as the wealthy middle-class ‘Europeans’ in other Latin American narratives but they still represent the colonial/post-colonial ‘masters’.
Too Late to Die Young has been acquired by the UK independent distributor ‘day for night’ (which also acquired Sotomayor’s earlier film Thursday Till Sunday (Chile-Netherlands 2012) so it’s possible it will get a limited release before appearing on DVD. I stick by my comments above re the difficulties the film poses for audiences but as a rather beautiful art film I would recommend Too Late to Die Young, not least for the performance by Demian Hernández who sings her version of ‘Eternal Flame’ by the Bangles (a worldwide hit in 1989). If you can engage with the film’s sense of community, you will have a good time watching it. The Press Notes offer an interesting read after you’ve seen the film. Also useful is this interview recorded at Locarno which reveals something else about the production which I was too dumb to spot immediately, but which will probably become a talking point when the film is released.