Reviews: Review of the film “Norma” by Santiago Giralta with Mercedes Moran

Over six years of making short films and documentaries, he became a prolific director of films such as Las Hermanas L., Toda lonely people, Before outside, Anagrams th Spring returns to the larger-than-life live-action film with a funny and entertaining (tragic) comedy that will be available next in theaters on the streaming platform Netflix.

Norm (Argentina-Uruguay-Chile/2023). Director: Santiago Giralt. List: Mercedes Moran, Alejandro Awada, Lorena Vega, Mercedes Scapola, Marco Antonio Caponi, Mirella Pascual, Claudia Cantero, Elvira Onetto and Elizabeth Vernaci. Guyon: Mercedes Moran and Santiago Giralt. Photo: Guillermo “Guri” Saposnik. Art direction: Coca Oderigo. Publisher: Vanessa Ferrario. Sonido: Federico Esquerro. Music: Tomi Lebrero. Distributor: Digicine. Duration: 93 minutes. Suitable for mayors from 13 years of age.

Not only is Mercedes Moran the absolute protagonist of this film in the “Norm” entry of the title, but she also makes her debut as a co-lead in this story, which (after our appearance in the end credits) is based on an unpublished novella by Santiago Giralta. .

Norma (an anagram of Moran) lives in Las Tucas, a gray village as rich and conservative as many others. She has been living at home with Gustavo (Alejandro Awada) for a long time, and good economic expenses are mixed with a tiresome routine. Once again, Norma’s world begins to question when Rosita (Claudia Cantero), a former domestic worker, tells her that she is giving up. The upheaval has a double meaning: in practical terms (the upheaval should take care of those areas that will bring relief), but also in the soul, which perceives it as trauma and abandonment.

From this point on, shaky solidarity and false security begin to falter. Norma begins a complex process that combines anguish, paranoia, resentment, disappointment, agony, loneliness and disillusionment, leading to regret and deconstruction. The introduction of Judith (Lorena Vega), a raven-haired psychologist who follows alternative therapies with a certain New Age air, means that the protagonist is less a therapist and more an adventurous companion, a friend, a friend.

The film depicts with clarity, ease and charm the typical family woes of three generations (Elvira Onetto plays Estela, an octogenarian mother; Mirella Pascual plays her mother Beba; Mercedes “May” Scapola, Moran’s daughter in real life, in the fictional one, a doctor named Ines; and Avada embodies the boring and macho man who has given up marriage and lives in his own world), but the most interesting thing is the internal process of our strange heroine, a progressive journey of redescubrimiento, empoderamiento and independence.

The film doesn’t pretend to proudly impart life and death lessons, even if one turns out to be naïve and naïve when it comes to dealing with issues like drug use or a certain path as a feminist woman. Giralt and Moran prefer humor, small observations and everyday gestures to loud lines. Ultimately, we are in the universe of comedy, which we know is a genre that engages in social criticism, but the result is more effective the less underlying appeal it has. Modesty in this case is also part of the charm.

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