SYNOPSICS
La teta asustada (2009) is a Spanish,Quechua movie. Claudia Llosa has directed this movie. Magaly Solier,Susi Sánchez,Efraín Solís,Bárbara Lazón are the starring of this movie. It was released in 2009. La teta asustada (2009) is considered one of the best Drama,Music movie in India and around the world.
Fausta is suffering from a rare disease called the Milk of Sorrow, which is transmitted through the breast milk of pregnant women who were abused or raped during or soon after pregnancy. While living in constant fear and confusion due to this disease, she must face the sudden death of her mother. She chooses to take drastic measures to not follow in her mother's footsteps.
La teta asustada (2009) Trailers
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La teta asustada (2009) Reviews
A Movie full of Rhythm, Intimacy and Fear
Our heroine is called Fausta, a girl who is full of fear. "The Milk of Sorrow" or, more exactly "The Frightened Tit" is, in the Peruvian-indigenous tradition, an illness, is being condemned to be a coward. Peru's late History was influenced by guerrilla's warfare and state brutality. Women (like Fausta's mother) were raped, and raped women got sick... of fear. through her mother's milk Fausta is afraid of life, but she is by no mean a coward, because after her mother dies, her struggle is by herself. This movie is beautiful, it combines a very, very strong performance from Magaly Solier, and a universal human struggle in a very typical Latin American city.
Strange but Interesting
The Milk of Sorrow refers to the belief in Peru of the passing of a pregnant woman's suffering to her infant through her breast milk. Fausta is subjected to the violence of the military and the Shining Path radical group during the unrest of the 1980s Fausta is a poor woman living in the mountains of Peru whose mother has died and because she cannot afford a burial, she puts her under a bed with a wedding dress on top of the dearly departed mom. Fausta was told repeatedly as a child growing up, of her mother's gang rape. She was never sure who her father was. As a result of the trauma, Fausta has inserted a potato into her vagina as a protection against rape; I am not making this up. Fausta is hired by a wealthy pianist to work as a servant. The employer hears her singing songs learned from her mother. She offers her a beads from a broken necklace, but when the woman repeats the music at a concert and receives applause, she fires Fausta without giving her the pearls promised. Magaky Solier plays Fausta in a very subdued, low key manner, which fits the cold and dark tone of the film. The subject matter is grim, but it is based on reality, so expect ninety four minutes of a sad but compelling story.
After the war, the fear
Winner of the first award at the Berlinale, La teta asustada is the second film made by Claudia Llosa, director of the brilliant and exotic Madeinusa. The movie shows an interesting picture of a village in Peru, the life of a family, the things they do to earn a living, and the fears of Fausta, a girl whose mother taught her the power of songs to send away tears.Fausta keeps a secret, and she wants no one to discover it. Meanwhile, he tries to save money to make a wish come true.Magaly Solier plays a gorgeous role, like she did in Madeinusa, and makes us share her feelings through her eyes and her voice. Besides, the film shows the customs of a family and the way every member helps doing his best with a smile. Don't miss it.
A masterpiece by Claudia Llosa
Young director Claudia Llosa (Madeinusa) has won the Golden Bear and a dozen of other prizes around the world for her second work, The frightened tit, its original Spanish tittle. Though the plot itself may seem awkward, the movie is a group of 95 minutes rich and beautiful images. The pearls, the potato, the dog, the wedding, the impoverished suburban Lima, everything is accurately directed and carefully thought by Ms. Llosa. Fausta (outstanding Magaly Solier) is suffering from The frightened tit, an illness that she caught through her mother's breast-milk since her pregnancy happened during the 1980s and 90s terrorism and State violence in the Andes. Now in Lima, Fausta is afraid, she's put a potato in her vagina in order to protect her from being raped, and after her mother dies she finally has to deal with the real life and face her fears,starting to work in a high- class house as a made. The plot of the movie is fictitious, but it lies on a cruel and past reality of Peru's modern history, combining it with a delicate halo of surrealism, magic realism and sometimes ironic humor. The image of the potato -all time Peruvian ingredient for cuisine- involves the subject of a war and a fear that affected an entire country, though our differences may not accept it yet. The scenes in Fausta's home are the opposite where she works: though the high-class house is in the same impoverished area (another reference to Peruvian social differences), over there is no gray, no dust: there are plants, color, life. At the end, Fausta realizes that in the root of her fears is the solution of them. The movie, indeed, is presented as a cure for the unhealed wounds of a terrible and recent war that happened on Peruvian soil.
A touch of magic realism
Writer/director Claudia Llosa loosely adapts the premise of old-time classics 'The Little Mermaid' and 'Faust' to contemporary Peru. Fausta, beautifully played by Magaly Solier, is a solitary, indigenous girl whose heart is gripped by fear. Her mother, who we see on her deathbed at the start of the film, was raped and scarred for life by The Shining Path (a radical Maoist organization that terrorized Peru during the 80s and early 90s). According to their indigenous culture, the terror felt by Fausta's mother was passed on to her through breastfeeding, a condition they call 'The Milk of Sorrow' (in Spanish, 'La Teta Asustada', which translates to 'The Frightened Tit'). Fausta is deeply suspicious of people around her, particularly men, and expresses her repressed emotions only through singing, as she performs her daily chores. Desperately in need for money to bury her dead mother, she begins to work as a housekeeper for Aida, a musician who is preparing for a concert and becomes interested in her songs of sorrow. Llosa observes the social realities of Latin America (post-colonialism, class division, political violence), but avoids providing facile solutions. Instead, she focuses her attention on Fausta's more personal need for spiritual freedom. She does so with quiet, subtle humor and an eye for striking, poetic imagery. I highly recommend watching this Academy Award nominee for Best Foreign Language Film and winner of the Berlin International Film Festival.