Gloria: Paulina García Delivers the Performance of a Lifetime

There’s an air of loneliness in Sebastián Lelio’s warmly directed Chilean drama Gloria. Nonetheless, more than enough lighthearted moments perfectly compliment a pretty somber tone. Primarily focused around the almost isolated life of its 58-year-old divorcee, Paulina García shines as the film’s extremely relatable titular character. García gloriously portrays a woman dealing with such a desolate reality as best as she can. Alongside being single, both two children are coming into their own as adults, her small apartment keeps attracting a hairless cat and upstairs neighbors make goodnight rests nearly impossible.

Everything isn’t so bad thanks to one past time Gloria enjoys immensely: spending nights at social dance clubs mainly frequented by adults of the same social standing. Considering the age group of the venues patrons, she cuts a rug to some of the biggest local and international disco classics of her time. This lends one of Gloria’s best aspects: it’s captivating soundtrack. Rather it’s the club’s blaring of Donna Summers, a native folk song complimented vocally with an acoustic guitar or Gloria belting humorously while driving, every melody heard thoroughly fits each mood. And yes, as one could tell by the trailer, the Umberto Tozzi classic is there too. One question in particular came to mind during the press screening however: Does this mean today’s generation will inevitably find “We Can’t Stop,” “Beez in the Trap,” or “Blurred Lines” definitive pieces of music by the time they become senior citizens?

Performance wise, García emotionally establishes her lead role as someone who balances coming to terms with solitary living yet continually yearning for some long term affection. That point is driven home even further when introduced to Sergio Hernández portrayal of Rodolfo. Hernández does an exemplary job with making a genuinely likable character (who also wears a man girdle) gradually reveal into someone different. García and Hernández’ chemistry is heightened by a stellar script Lelio co-wrote with Gonzalo Maza. The two’s relationship goes from awkward, sensual and confusing. Sexier scenes between the two get incredibly steamy, but with a grounded ambience. Not to mention how good García’s body looks. Simply put, no one makes being almost 60 simultaneously look so sexually confident and blundering. 

Lelio’s cozy direction makes Gloria’s aloneness authentic through great editing and interesting use of closeups. Gloria’s Chilean landscape comes alive regardless of location. Dialogue reflects the laid-backness to scenes quite well. Besides the obvious feminist undertones, there are some compelling commentaries on Chile’s youth revolts for economic equality, the effects late-life divorce can have on an entire family and marijuana usage. Yes, there’s a hilarious scene were Gloria indulges in her first joint. What follows is a flat out funny scene involving an impromptu balcony performance with neighbors.

Anchoring the film from beginning to end, García conveys a multiple of feeling convincingly. This is what makes Gloria so bold, smart, funny and full of ease at each frame. Featuring wonderful acting, tight directing, a strong script and awesome soundtrack, Gloria just mesmerizes.