A Fantastic Woman seems to follow the style guide set out by the vast majority of critically acclaimed foreign language films. With personality filled shots, a calm and resonating demeanour and an outward complexion made up of its themes and underlying morals, A Fantastic Woman is as formulaic as it is revolutionary.

After a night of love making, Orlando (Fransisco Reyes) falls ill, hitting his head on a concrete floor. His younger lover Mariana (Daniela Vega) calls for an ambulance, but Orlando is soon pronounced dead. Already having to deal with the loss of her partner, Mariana is soon shown what his family think of her, as she struggles with her own personal demons and those cast upon her by an unaccepting and tortuous society.

A Fantastic Woman is a brave and courageous creation. It has a stark understanding of society, and uses that to dispel myths and strengthen bonds. It shows power in an incredibly lonely and vulnerable sense, and brings its incredibly modern understanding to an uneducated world.

A Fantastic Woman 2

Vega leads this attempt to educate with incredibly clear and firm emotions, wrapping her Mariana in depth and strong will. It’s certainly a film about acceptance, going even as far as denying others if they refuse to accept. Not in a dominating or patriarchal/matriarchal sense, but more of a sense of fearlessness and complete belief. A Fantastic Woman earns its praise rather that requests it, revealing secrets ever so subtly through a very knowledgeable script.

It seems to have won its Best Foreign Language Oscar for its sheer bravery, its wholesome understanding and its passion for life. However much it copies other film’s style, it makes up for that in courage. It’s a film to inspire, and should be utterly admired for that.

4/5

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