The Milk of Sorrow (2009)

I can see that or why many people will like this movie. There is the very great portrayal of the main actress, there is running theme in here that speaks to many art-house fans (even those who may not know that they are).

The pacing might seem awkward, some twists in the story line and/or character arc, might not be accessible to some viewers, but all those things make the movie even better. At least that's how I see it. Still as this is a movie that provokes or encourages you to think a lot, there might come up a few questions, story-wise and or character-wise that might leave you with a slightly bad taste.

And although up until now the review the user GeneralGrievous gave hasn't received positive feedback, you have to cut the guy some slack. If you read his review, you can understand why he didn't like the movie quite as much. I thought his review was helpful, even though I don't agree on everything he writes, because he explains not only why he thinks that way, but he gives a few glimpses into his knowledge of Peruvian film-making.

Fmovies: Fausta Isidora (Magaly Solier) is a weird young woman that lives permanently scared in a poor community in Lima. Her mother was raped by many men when she was pregnant of Fausta, and raised her daughter with a morbid fear of men. When her mother dies, Fausta has a bleeding and faints. Her uncle takes her to the doctor that finds that she keeps a potato inside her vagina to protect her against intercourse. Her uncle tells to the doctor that in accordance with the lore of the locals, she has a disease called "La Teta Assustada" (meaning "The Frightened Teat" in English) transmitted by the milk of an abused pregnant woman. Fausta decides to bury her mother in her home village, but neither she nor her uncle has the necessary amount for the coffin and the transportation. Fausta starts working as housemaid in the manor of a pianist to raise the necessary money; she befriends the gardener that helps her and Fausta finally resolves her issues.

"La Teta Assustada" is an exotic but boring and unpleasant low budget movie. The story is developed in slow-pace and probably will please viewers of the First World that maybe have never seen a slum and poor people like the dweller of Fausta's community. Magaly Solier has a great performance and her exotic beauty is impressive. The translation of the title of this film to English ("The Milk of Sorrow") is ridiculous since the correct translation would be "The Frightened Teat". The summary in IMDb from Pusan International Film Festival is ridiculous and the author has certainly not understood the story; or maybe the translation from Spanish was wrong. My vote is six.

Title (Brazil): "A Teta Assustada" ("The Frightened Teat")

A realistic portrayal of the impoverished suburbia of Lima, Peru is the frame-set for this fantastic story. Fausta, daughter of a woman raped by terrorists some 25 years ago, assists her mother's death and decides to take her remains back to her hometown, in the high Andes. But, apart from having to work hard to collect the money she needs for it, Fausta has a reason, deep inside, that prevents her from enjoying life or accepting her outstanding physical beauty as a normal girl.

Mastery at low-budget cinematic skill should be credited to Bollywood (the Mumbai-based Hindi language film industry) films, which may not be the most groundbreaking in technical or screen writing terms, but contain music in the form of song-and-dance numbers woven into the script in order to appeal to all segments of the audience and maximise box office receipts. Since Hollywood's multi-million budgets would never have helped shoot realistic and colourful, but rough Brazilian imagery, 'Central Station' (1998) and 'Cidade de Deus' (2002) garnered indisputable acclaim at renowned film festivals after being funded on their own. The example set by off-Hollywood movie makers' efforts have become heroic in countries where movie industry budgets are, to say the least, scarce.

This is the case for LTA. It could have been more on par to Danny Boyle's 'Slumdog Millionaire' if it wasn't for the Peruvian-Spanish meagre budget available to Peruvian young director Claudia Llosa. If you expect to see acting beaus or beautés, famous screenwriters and crew, expensive car explosions or CGI, go elsewhere. LTA is neat magic-realism, a territory where people may be poor but not disgusting, where their houses are mere recreation centres for fantasy and everyday life to play happily together. Only time will tell if the trend keeps up, spreads globally, and ends up being called Globbywood.

This is a well-told tale of hope where only two professional actors are involved. And this was as clear to Berlinale judges as it is for the general public -those with a thirst for veritable, honest, witty craftsmanship at film-making.

The Milk of Sorrow fmovies. I was so touched by this film, which is obviously a low budget production. It proves that you do not need a multi-billion budget to make a good movie. I think only women can understand fully the pain and the fear the heroine had to go through. I wonder if they produce a sound track for the movie. The songs by the heroine and that sonata adopted by the pianist were beautiful. Solier is a great actress and her facial features, well, what can I say, is not the kind of glamour you find on screens. She has character, reflecting her heritage. I immediately take a liking of her from the first few scenes.I It is disturbing to find people snubbing such a beautiful movie but I guess everyone to his/her tase.

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.

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.