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Under the Sun
Ana’s life changes radically when she divorces at the age of 40. In front of her family, it gets harder every day to keep pretending everything is fine. She decides to make the best of it and to retake control of her life: a new haircut and starting to drive the car again. Yet everyone in her family seems to question her ability to do so—and what is worse: they might be right.
Bio Eduardo Esquivel
As the original title, Lo que no se dice bajo el sol, reveals, not much is said out loud in Eduardo Esquivel’s short film. However, the filmmaker’s attention to detail in this seemingly loose narrative conveys many subtle truths through looks and silences, all rendered in an essentially neo-realistic cinematographic style. Its tender frankness works in more ways than one. When Ana is taking her kids to spend an afternoon at grandma’s on a seemingly normal day, her actions play out as an ordeal within the quest to revalue herself as an independent woman while facing the cruelties of her closest family members. Amidst a chatty background and a heart-wrenching soundtrack, many things are left unsaid. Under the Sun pays tribute, quite literally, to Lucrecia Martel’s La ciénaga and to other sun-drenched Latin American cinema. How Esquivel’s cinematic style wonderfully captures Ana’s sad summer day is a great example of how cinema can elevate the human condition.