Raquel 1:1 (2022) | A Modern Hagiography.

 

Breaking Glass Pictures is releasing this film on February 14. 

This viewing was part of a Press Screening. 

Breaking Glass Pictures has a lovely habit of bringing us films from the international stage and from nascent directors. The last two films that I have reviewed from them All Must Die (2019) and Blood Red Ox (2021) came from Norway and Bolivia respectively. This film was produced in Brazil by Claraluz Filmes and written and directed by Mariana Bastos as her first solo project. It stars Valentina Herszage (Raquel), Emílio de Mello (Hermes), and Eduarda Samara (Laura).

Even if you did not know that this was written and directed by a female director it would be hard to miss. Much like other women-led films of the past like Jennifers Body (2009), Suspiria(1977), and Picnic at Hanging Rock (1975), there is a feminist lens and sensibility to it The spectre of violence against women permeates the film, from the engagement subplot of Laura, the violence statistics Raquel scrolls past on the computer, and of course the haunting screams of her mother that play over and over again on repeat when she's alone with her thoughts. It's clear where this film's criticism lies and thats on the way that women are treated and abused at the hands of men. matrydom is simple a more romantisized example. At least in that way there's power and choice. 

The film centers itself around Raquel, a young women who finds herself in her father's hometown, who finds comfort in religion. She joins a local youth group and when she finds an unwelcome place to discuss the more sexist aspects of the bible begins her own bible study. This of course leads to the townsfolk accusing her of starting a cult but hey they just hate to see a girlboss winning. 

To be honest the fact that the film centers women as the leaders of a religious order both traditional and heretic is lovingly subversive and it also speaks to the ways we adopt our own marginilization as a cudgel. This film is entirely concerned with women, how they speak to each other, and how people react and fear their power. As many other critics have mentioned with the film, its never shouts its premise, its a subtle ambiance in the background as we focus on the micro drama before us. This is not an issue for me personally. I honestly find this type of Indie Mumblecore to be charming when done well and this is very much more akin to Breaking Glass's Seminal trilogy The Falls then some Twee Nonsense like Perfume (2001). That being said I could understand how cinemaphiles might enjoy a more stronger focus. 

This is also a good time to mention that this film is also quite queer. Throughout the film Raquel and Laura share a close friendship that while never explicetly romantic is beyond obvious. They dance together, they hold hands, they spoon as they sleep in the same bed, they ride off together into the sunset. It's never stated explicetly in the dialogue, (mostly cause nothing is), but as someone who has spent the last three months watching nothing but queer-coded haes films its plain to see. Not in the way that something like Slyvia Scarlet (1935), Rope (1948), and Suddenty Last Summer (1959) are queer, those films are new wine in old wineskins, nearly bursting with there scant ability to exist within the confines. This film is distinctly post-modern in its sentiment. Its queerness so comfortable within its own skin, so self-realised that it doesn't need to make a scene of it. As the youth say "One day we won't have to come out, we will say we're in love and that will be it",

I grew up in a very religious household and love anything that is religious without being a gospel film. Hell one of my favorite films is The Exorcism of Emily Rose (2005) for fucks sake. It's always a type of theming and genre that captivates my imagination. A connection with a rather large part of my childhood and most peoples lifes. It's a yearning to believe in something truly divine. It's hope plain and simple. One thing that I did not grow up with but which still consumes my imagination is that of the Hagiography, AKA the Lives of the Saints. I was not raised Catholic so I don't really get saints in general but the stories about them are fantastic. St. Agnes with the good hair, St Nick with his pickle barrel, St Theresa of Avilia floating two feet off the ground being like "thanks but ummm I'd rather not".

Raquel in the most basic sense is a very biblical story, in the first sense of following the emotional footsteps of people like Ester and Nathaniel being spoken to by God but ridiculed by their society, (sure I could have mentioned one of the prophets but what do I look like a doctor of the church), and in the second as a saint story. This is while not stated outright a modern story of a saint, walking in faith, performing miracles, being accused of blasphemy. Which is honestly somehow an incredible fresh take and we love to see it. 

What we also love to see is the stylizaiton of this film. As I have mentioned previously this has a indie mumblecore type feel to it. The film is light on dialogue instead allowing for an ambience and atmosphere to permeate the screen, droning music, natural folleywork, indistinct dialogue in the background. There are scenes where character are clearly speaking to each other but we are not privy to the conversation. The visual language of the film mirrors this allowing for wide open establishing shots and negative space along walls. The whole film has this hazy dream like quality. Less through like a guazy romance and more like a dissocative episode. 

I had a absolutely lovely time with this one, this film showcased at the SXSW Film Festival and it is everything I expect from a festival film. Something Innovative, Personnal and Stylish. The quiet voice and indie trappings may put off some but for those that like Stigmata, Quiet Dramas, and Women Winning then you may have found yourself a new religion. 

Rating: Great Film/Personnal Recommendation