Do you want to devise what makes you come back here?
Don’t feel so bad, I felt like that as well,
I see you again and you take me apart,
You always take me apart,
I see you and you take me apart.
– El Campo – Planeta No
It was difficult to watch Reinos after its debut on October. The Matucana 100 Cultural Center offers two performances until January 20, between 6 and 8 p.m. However, the fever of Santiago a Mil and Santiago Off festivals messed up part of the program of the cultural space of Estación Central, calling off suddenly its performance in Wednesday 16.
After the corresponding apologies, I returned the next day to see the first feature film by national director Pelayo Lira based on the homonymous story by the writer Romina Reyes. The first scenes are very familiar to me and to the young audience that was in the room: the Juan Gómez Millas campus of the University of Chile, the emblematic faculty of the humanistic students of the Bello house and also the center of multiple university parties. There develops the love story of Alejandro and Sofia, played by Diego Boggioni (who acted as Claudio Narea in the Sudamerican Rockers series) and Daniela Castillo (Best Performance Award in the BAFICI International Competition).
Alejandro is from Rancagua, he is 19 years old and he separates for the first time from his family to study in the capital. On the other hand, Sofia lives alone with her mother and must determine the subject of her undergraduate thesis. Both are very different from each other, but a request for friendship on Facebook from Sofia starts their meeting.
As time wears on, the relationship that consisted of sex rather than love, is mutating and is becoming more complicated. Their environment of friendship and university is also constantly changing: young people who do not know if they are studying the right thing, but who carry the dreams of being professionals of their parents and family. Pelayo seeks to reflect these generational insecurities through this main relationship, but also through its environment, the so-called Chilean millennials, those who experienced the boom of the student and social movements in democracy.
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It is inevitable not to remember any friend, partner or oneself after seeing the scenes of reels in the courtyard of the faculty, the free time between classes or sharing lunches among all. A community is created, notes and secrets are shared. Emotions, anguish and romances are revealed, but above all, the reality of the other is known: that of the regional partner, the free companion, the one who can pay the million-dollar tariff in cash or the one who does not want to belong to the system. The quiet, the rebellious, the one messing around and the intelligent, all converge to create these moments that pass at light speed and quickly become memories.
The same happens with love. In a moment both protagonists explode before their differences, but none is right. They are different and that’s fine. Alejandro’s dependence on Sofia is a bit burdensome, but the absence of her in the relationship is also suspicious. Reinos rescues this process of maturity between adolescence and adulthood, where you do not know exactly what you want, but at the same time, you give everything to get it.
Reinos will be available on billboards of Matucana 100 until January 20. To see more information about its value and program, click here.