Il canto di Paloma

A daughter perpetually afraid of rape tries to raise money for her mother's burial in this allegorical film.

At the opening of this spare allegorical drama, a dying woman speaks the unspeakable. Actually, she sings it, in the Quechua language, in a lullaby of terrible beauty, her voice as thin and pliant as a reed. She's reporting the atrocities she endured "during terrorism," a period neither she nor filmmaker Claudia Llosa defines, although it clearly refers to the civil war that blazed across Peru in the 1980s. Perpetua, symbolically named like nearly everyone in "The Milk of Sorrow," doesn't specify whether it was guerrillas or government soldiers who brutalized her. [...]

di Sheri Linden, articolo completo (2229 caratteri spazi inclusi) su The Los Angeles Times 3 settembre 2010