El lugar de la otra

A very beautiful movie about the burdens and exhaustions of women, the woman searching for herself and finding it in peace and privacy.

When a woman finds a place for herself to elevate herself and live her own time, it becomes a refuge, as she said, "I am tired of the noise. I want some peace." Stories always present some kind of female role that focuses on motherhood or maturity. You have not found a film like this about the desire for peace and tranquility and the restoration of the soul. I loved it and wanted it very much.

A very wonderful and very calm movie that touched me deeply and I believe that the story has roots or is an adaptation of a previous story.

A wonderful, wonderful, very nice movie.

I watched this movie on Netflix, expecting a conventional crime drama. I was surprised to discover a sensitive, complex and accurate film. The characters, based on a real case, are designed in a subtle, but powerful way, by the actors and the director. The film is not satisfied with just bringing the story to the viewer, but also manages to formulate an interesting statement on the feminist issue, referring to Chile in the 1950s. The main actress, in the role of Mercedes, plays a complex and multi-layered character, and she does it very successfully, in my opinion, on the one hand, she plays a restrained and introverted role, but at the same time she manages to express the drama that takes place inside her in an impressive way and is highly recommended.

Even the Chilean national poet Gabriela MISTRAL (1889 - 1957), who was awarded the Nobel Prize for Literature in 1945, stood up for her convicted fellow writer.

In 1955, a sensational scandal occurred in Santiago de Chile. In the Hotel Crillon, the writer Maria Carolina Geel (Francisca LEWIN) shot her lover out of the blue. By chance, the court clerk Mercedes Arevalo (Elisa ZULUETA), who works for the investigating judge, comes into contact with this case. It turns out that she receives the keys to the defendant's luxurious apartment. This opens up a new world for the inconspicuous Mercedes, who is not taken entirely seriously by her husband (Pablo MACAYA) and two sons. Surrounded by beautiful things and in heavenly peace, Mercedes begins to rethink her own life and consider new horizons possible.

A quiet and beautiful narrative film from Chile, which is somewhat reminiscent of the Italian blockbuster TOMORROW IS ALSO ANOTHER DAY / C E ANCORA DOMANI by and starring Paola CORTELLESI. EL LUGAR DE LA OTRA by Maite ALBERDI was selected by Chile as a candidate for the OSCAR for Best International Film.

Its nice seeing a moviw from my country. This movie is a powerful exploration of identity, desire, and the roles society imposes. Through the story of two women whose lives intertwine, the narrative blurs the boundaries between self and other, between what is real and what is projected. It examines how longing, perception, and external expectations shape who we believe we are. With subtlety and emotional depth, the work invites us to reflect on the masks we wear and what it truly means to inhabit someone else's place-even if just for a moment. If you're interested in drama and crime movies you should watch this one.

Watched this dubbed version and am now convinced I need to watch it in the original Spanish, which I imagine (I hope!) provides the texture, the sensuality, the richness that is sorely lacking in the English dubbing. Production values are uncommonly high which give the film its consistently stunning appeal. I won't comment on the acting because it was so compromised by the dubbing...why isn't the voice actors' work of a higher caliber, one befitting the story and the production?

An integral storyline is buried until near the end: The writer Geel's criminal act is a 'copycat' of one committed by the more famous Chilean author María Luisa Bombal. The film's title-and indeed, entire narrative-takes on greater resonance when that fact is underscored, which it's not in this film, except for a fleeting reference toward the film's end. The titular phrase, "in her place," makes more sense when that factual, fascinating detail is revealed-too late, unfortunately. Why did Geel follow in Bombal's footsteps, criminally speaking? Was she trying to accrue to herself some of the more famous writer's biographical reality (and allure)--just as Mercedes temporarily takes on aspects of Geel's glamorous, glittery life? There is so much exceptionally rich terrain that was left uncovered by the filmmaker here!