At a mansion deep in the emerald mountains of Puembo, Luisa suffers from a severe case of baby blues. Emerging from psychiatric care after being accused of trying to harm her second child, Luisa attempts to resume her expected role as patriarch. She puts on a bold front for others, but underneath she is fragile, unstable, and detached. She steps on broken glass and confronts people to try to feel alive, but such things cannot give her life meaning. She can't keep her baby from crying and she is unraveling. The real Luisa becomes invisible.
"In Ecuador," said the director in Toronto, "there is a lot to worry and be sad about, so by showing someone with everything the depression is more striking." The cinematography is remarkable with shots of green mountains, drifting clouds, the lights of Quito at night, and the back of Luisa's head as she wanders through her mansion. An elderly native woman sings a haunting and beautiful lullaby, and there are ambient sounds of birdsongs and wind. The film effectively portrays Luisa's inward moods.
World premiere seen at the Toronto international film festival.
"In Ecuador," said the director in Toronto, "there is a lot to worry and be sad about, so by showing someone with everything the depression is more striking." The cinematography is remarkable with shots of green mountains, drifting clouds, the lights of Quito at night, and the back of Luisa's head as she wanders through her mansion. An elderly native woman sings a haunting and beautiful lullaby, and there are ambient sounds of birdsongs and wind. The film effectively portrays Luisa's inward moods.
World premiere seen at the Toronto international film festival.
