Film Review: ‘Malta’ dir. Natalia Santa
Rating: ★★★★☆
Natalia Santa’s “Malta” world-premiered in the Global section of the prestigious SXSW festival on March 9th, 2024. Themes such as image of self, identity, unresolved childhood trauma, and the Jungian philosophy of the absent father can be seen in the powerful psychological drama of the Colombian director. The script of the film is well-structured and has a solid framework, backed by Santa’s direction. Estefania Piñeres’s portrayal of Mariana is captivating, at times brilliant.
In “Malta”, Mariana (Estefania Piñeres) a young Colombian woman navigating the challenges of adulthood, tries to earn a living at a call center, takes German lessons, and grapples with a dysfunctional family. Amid her daydream plans of escaping her challenging reality by traveling the world—particularly to the Mediterranean island of Malta—an incipient relationship with Gabriel (Emmanuel Restrepo), a goofy classmate, compels her to confront the true motives behind her desire to leave.
The sense of suffocation and confinement serves as a prominent theme in “Malta.” In a poignant early scene, Mariana finds herself trapped in the house where she spent the night, unable to leave due to a locked door. This moment symbolizes a figurative dead end in her life, relationships, and connection to the world around her. Desperate for an escape, Mariana turns to 3D Google Maps, seeking solace in the virtual exploration of distant city streets, such as those of Malta.
Natalia Santa subtly emphasizes the motif of the “door” throughout her film. Whether it’s the door of a house, a closet, or a refrigerator, Mariana is consistently depicted opening and checking their contents. This behavior not only reflects Mariana’s exploratory nature but also subtly symbolizes her search for escape routes or opportunities in her life. The act of checking whether the doors are open or closed serves as a metaphor for Mariana’s navigation through potential dead ends and pathways forward.
The film employs a palette of dead and neutral colors, reflecting the emotional landscape of Mariana’s world. These muted tones convey a sense of lifelessness and emptiness, mirroring Mariana’s internal state. Even her clothes, predominantly black, reinforces this somber atmosphere. Within her home, the dying fish in the aquarium serve as a poignant metaphor for Mariana’s own sense of decay and internalization. Her act of burying the fish, crafting a makeshift cross out of an ice cream stick, underscores the theme of mortality and the gradual fading of life within her surroundings.
The film’s overarching thematic focus revolves around the intricate dynamics of parent-child relationships and the struggle for identification. Mariana’s crisis of identity stems from her inability to connect with her parents. She finds herself at odds with her mother, enduring verbal conflicts and humiliation, as leaving home seems the only escape from the turmoil. Meanwhile, her father’s absence looms large, embodying the Jungian notion of the absent father—a key theme in the film. This lack of parental connection renders Mariana’s environment emotionally barren. Unable to relate to either parent or her surroundings, she grapples with a pervasive sense of disconnection. Within her family, her grandfather, frail and passive, assumes the role of a father figure, yet his ineffectuality underscores the absence of paternal guidance. Mariana’s journey toward self-discovery hinges on her ability to reconcile with her parents’ personas and transcend their influence on her identity.
In the film, men are depicted as catalysts of trauma, inflicting pain while women internalize it. The absence of father figures underscores male irresponsibility, as they father children but shirk paternal duties. For instance, Mariana’s brother Rigo exemplifies this cycle by abandoning his pregnant girlfriend and shifting blame onto her. This pattern perpetuates a legacy of absent fathers, passing down identity crises like a hereditary trait to future generations of women in Bogotá. The unborn child in Luisa’s womb symbolizes this ongoing cycle, representing the looming shadow of absent fathers for the next generation. Throughout the film, the past, present, and future intersect in a relentless cycle of abandonment and unresolved trauma, leaving Mariana desperate to escape a future devoid of hope.
Mariana’s emotional connection with father figures is notably absent, and instead, men serve as symbols of sexuality for her. The men she engages with typically resemble her absent father in age, reinforcing this subconscious association. However, Gabriel stands apart from the others, characterized by his clean-shaven appearance—a symbol of traditional masculinity—and a distinct lack of abusive tendencies. Their relationship transcends mere physicality, with a stronger emotional connection evident. Notably, in sexual encounters, Mariana’s behavior differs: with Gabriel, she exhibits receptiveness and submission, while with men resembling her absent father, she takes on a dominant role. This dynamic suggests a conscious attempt by Mariana to actively engage with the father figure archetype, seeking emotional fulfillment from pleasing him rather than merely receiving pleasure. This nuanced portrayal by Natalia Santa sheds light on Mariana’s complex desires and attempts to reconcile with her unresolved paternal issues.
In the film’s poignant conclusion, the death of Mariana’s grandfather, the sole father figure in the family, prompts an emotional breakdown in her mother, marking a moment of shared grief. For the first time, Mariana and her mother embrace, symbolizing the reconciliation of two generations burdened by absent fathers. With the patriarchal barrier removed, they find solace in each other’s arms.
In the final scene, Mariana invites a supportive male partner, Leonardo, reminiscent of her absent father’s age, to a romantic date overlooking Bogotá from a distant cabin. As they gaze upon the city’s vibrant lights, Mariana’s face radiates with newfound color and life, free from the signs of trauma. Malta, the symbolic destination Mariana embraces, represents a utopian vision of her future identity. As the film fades to black accompanied by Peter Salmang’s evocative music, it symbolically mirrors Mariana’s journey towards a brighter, hopeful future.
