As one of this year’s nominees for Best Foreign Film, Sebastián Lelio’s A Fantastic Woman covers a sensitive issue well, delivering a powerful film worthy of its Oscar nod. A Fantastic Woman follows aspiring singer Marina Vidal (Daniela Vega) through her experiences as a transgender woman who wants nothing more than to fulfill her life goals. Unfortunately, when her boyfriend Orlando (Francisco Reyes) suddenly dies, Marina finds herself unable to properly mourn, as Orlando’s family are quick to throw suspicion and scorn towards our protagonist when they discover her gender identity.
On a rare occasion, the passage of time helps a film age like a fine wine. Such a rare example of this phenomenon is best observed in the case of Georges Franju’s French horror film, Eyes Without a Face (1960). Released the same year that Alfred Hitchcock’s Psycho (1960) was criticized for its “vulgar” shot of a flushing toilet, Eyes Without a Face is a movie that phenomenally blends emotional turmoil with the grotesque into a simple story whose unnerving aura transcends time and language. With four screenings of the film scheduled for this week thanks to the Secret Celluloid Society, now is an opportune time to sit back and re-examine a classic that deserves more mainstream attention than it currently has.