Rudimentary synopses, wherever one might read them, rather plainly suggest this to be a lesbian romance film. To convey that stark notion is an unfortunate mistake, as a relationship between the main characters is only a small part of the narrative being told. It's not perfect, but 'Liz in September' is a satisfying watch.
A more accurate one-line premise would relate that this movie is about a young woman, traveling by herself, who befriends a group of lesbians after her vehicle breaks down. Perhaps that oversimplifies things, but it provides the essential background of the plot, which in the end loosely examines love, and life and how we live it, among other themes.
'Liz in September' isn't entirely fulfilling. Early voiceovers or internal monologues, and inserted shots of hospitals or medical paraphernalia, may fit with the overall plot yet are ultimately extraneous. They needlessly prevent the viewer, almost at the very start, from becoming invested in the story. The flow of the film does generally improve after this, though this initial frailty is echoed later.
The film seems unsure of who the protagonist should be: stranded sojourner Eva (Eloísa Maturén), or troubled temptress Liz (Patricia Velásquez). At the beginning and end the camera emphasizes the journey (literal and figurative) of Eva, but for much of the intermediate length we see more of Liz, whether or not she's joined by Eva. That sense of uncertainty is echoed in director Fina Torres' adapted screenplay generally, as 'Liz in September' can't quite seem to decide if it wants to be a story about Eva's stay with this group of friends, a lesbian romance, or a more serious dramatic introspection. The movie does touch on all these aspects, but not entirely convincingly in any instance.
Still, it's sufficiently entertaining, and engaging. The cast fills their roles commendably, and star Velásquez in particular excels at making Liz relatable and sympathetic in her fears, uncertainty, and conflicting emotions. The feature tells its story well, if imperfectly; it's gratifying that if nothing else, the last few scenes are certainly done well. The ending, especially, conveys much through its imagery without any need for plainspoken narration or dialogue, and is satisfying to that point. I just wish the rest of the movie had the same unity of vision.
Anyone looking for a light-hearted, frivolous lesbian romance is going to be disappointed, but there's enough content here, broadly, to keep our attention that the misleading suggestion of focused representation can be forgiven. Don't expect a revelation, but 'Liz in September' is worth watching if you come across it.
A more accurate one-line premise would relate that this movie is about a young woman, traveling by herself, who befriends a group of lesbians after her vehicle breaks down. Perhaps that oversimplifies things, but it provides the essential background of the plot, which in the end loosely examines love, and life and how we live it, among other themes.
'Liz in September' isn't entirely fulfilling. Early voiceovers or internal monologues, and inserted shots of hospitals or medical paraphernalia, may fit with the overall plot yet are ultimately extraneous. They needlessly prevent the viewer, almost at the very start, from becoming invested in the story. The flow of the film does generally improve after this, though this initial frailty is echoed later.
The film seems unsure of who the protagonist should be: stranded sojourner Eva (Eloísa Maturén), or troubled temptress Liz (Patricia Velásquez). At the beginning and end the camera emphasizes the journey (literal and figurative) of Eva, but for much of the intermediate length we see more of Liz, whether or not she's joined by Eva. That sense of uncertainty is echoed in director Fina Torres' adapted screenplay generally, as 'Liz in September' can't quite seem to decide if it wants to be a story about Eva's stay with this group of friends, a lesbian romance, or a more serious dramatic introspection. The movie does touch on all these aspects, but not entirely convincingly in any instance.
Still, it's sufficiently entertaining, and engaging. The cast fills their roles commendably, and star Velásquez in particular excels at making Liz relatable and sympathetic in her fears, uncertainty, and conflicting emotions. The feature tells its story well, if imperfectly; it's gratifying that if nothing else, the last few scenes are certainly done well. The ending, especially, conveys much through its imagery without any need for plainspoken narration or dialogue, and is satisfying to that point. I just wish the rest of the movie had the same unity of vision.
Anyone looking for a light-hearted, frivolous lesbian romance is going to be disappointed, but there's enough content here, broadly, to keep our attention that the misleading suggestion of focused representation can be forgiven. Don't expect a revelation, but 'Liz in September' is worth watching if you come across it.
