The only thing foreign about Gloria, a wonderful Chilean import that was snubbed from this year’s nominees for Best Foreign Language Film, is its setting and Spanish dialogue. The main crux of the movie, that of a divorced 58-year-old woman coming into her own later in life, harkens way back to the American cinema of the 1970s, when Scorsese’s Alice Doesn’t Live Here Anymore and others dug into the state of womanhood post-wifehood. These films all feature complex female leads who are independent from man’s indentity yet still yearn for interdependency nonetheless, and Gloria is no exception as it deftly balances the perks and pains of self-reliance.
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