Here and There

From her own personal experience and from talking with her lifelong friends, Melisa (24) wonders about the mandates and prohibitions that mold the cultural construction of the female gender, especially in relation to the image. With humor and candidness, the film portraits a feminine world seen from the inside, from conversations, personal photos and home movies.

It is no coincidence that the second feature by Argentinian Melisa Liebenthal begins with a quote from “Duino Elegies” by Rilke, who was concerned with existential angst. And, more prosaically, Marina, the film’s young protagonist, is faced with similar anxiety. In fact, her problem is her face. One morning, she discovers her face has changed, and she can no longer recognise herself. Not even her mother can, who bumps into her on the street and says hello to her like she would to any stranger (deadpan, surreal humor is part of the film’s recipe). Marina is thus forced to confront her identity: who is she? Is she determined by her parent’s DNA or by her ID card? Can she be identified by a family portrait, by biometrics or the love of those around her, including her Colombian boyfriend? Is she prettier now?

Yamel, a Mexican cinema student in Cuba, is randomly filming a stormy afternoon in Havana when Jans, an 18-year-old fisherman, walks across her frame and captures her attention.

Constanza is 35 years old, she works as a housemaid at Irene’s house, a 65 year old woman who is temporarily in a wheelchair. The film focuses on Constanza’s meticulous and almost obsessive gestures. As the hours pass by, repetition and melancholy become increasingly heavy, until this apparently ordinary day cracks.