Lovesusti The Worst Film Ever

Nayan Gough A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

Portia Hilton Blistering performances.

Ella-May O'Brien Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

ejhoffman Set in the slums of Lima, Peru, La Teta Asustada tells the slow and at times confusing story of a young girl's obsessive fear of rape. As a younger woman, Fausta's mother fell victim to a violent rape incident while pregnant. From that moment on, the mother never seemed to recover. Her inability to move past the sexual violence went as far as to instill an irrational fear within Fausta. Fausta, whom we as the audience do not really ever get the chance to understand, has a debilitating fear of men even though she herself, so far as we understand, has never fallen victim to rape or another form of sexual violence. It's as if the fear that her mother experienced became hers and she refuses to let anyone close to her. As the audience, I feel as though we missed the opportunity to understand her and really get to know her character. Maybe it was an intentional part of the movie direction, but Fausta's irrational fear of men overtakes her and seems to be a fear of people in general. Additionally, in the moments that the audience is allowed a peak into the mind and thoughts of Fausta, we are left a little confused. Watching the movie, I did not initially understand Fausta's dismissal from the taxi cab, or her abrupt awakening from her seemingly drunk uncle. While we are in moments uplifted by Fausta's family business, wedding planning, overall the movie was slow and rather boring. The most exciting parts weren't the moments that we get a glimpse into her character, but rather when we are getting to see the young brides celebrate the traditions of marriage in the slums. Understanding this part of their culture would have been much more exciting. The cultural traditions of weddings and marriage in another place can teach us so much about that culture of that place.

greatdeceivah Hollywood's cultural Marxists have perfected their formula for nominating Foreign Films to the Oscars. This movie has all components to meet Hollywood's requirements for liberal / leftist neoliberal propaganda. This film has a nice music score, good sound and great photography, showing the bleak and bare landscape the characters live in, and most importantly it thrives on showing how infinitely evil white people are, which is a prevalent theme for Hollywoods leftist propagandists of today.So, If you are a foreign filmmaker and want to follow in the steps of self hating whitey director Claudia Llosa, and you want to be noticed by the great (((people))) in Hollywood, here are the most important ingredients for foreign movie Oscar nomination :01 - Regurgitate the "Holocaust".. because we all know that there aren't enough Holocaust movies already.. This movie touches on this theme indirectly when we see the a portrait of an evil white man wearing a military uniform in the evil white woman's bedroom, because you know that all white people must be evil descendants of military white men, exploiters of native people around the world.02 - Show the differences in lifestyles between between non-white, native foreign populations and the inevitable evil, and very rich white people. In the case of this movie the main character, (who happens to actually look more white than most of her family) ends up working as a maid for an evil blonde white woman, who also happens to be very wealthy and it is never shown to be doing anything of any importance.. We all know that rich white people, have nothing but idle time in their hands, right?Later we find out, the rich and very evil white lady is a pianist and a composer, but we are never shown her practicing her piano playing or working on her music.. but why.. we all know that evil white people don't have to do any work, even in artistic fields, everything is handed over to them in a silver spoon. Brown people are the only ones who do ALL the work LOL03 - Show that white people are really evil, unjust and dishonest. As the movie develops, we notice that the rich white lady, is not only spoiled, she is also a thief who steals a melody that the main character sings and plays it in her piano concert.. just to remind the audience that white people have always been thieves and they have stolen everything they have from native people.. In the lowest point of the movie, the evil white lady throws the poor innocent native Indian woman out of her car when they are driving from the concert, after she makes a sarcastic remark, a plot twist that is just ridiculous and exaggerated. 04 - Marxist Feminism 101: Show that most men of all races are also just like white people.. They are EVIL. As if the "white people are evil" propaganda wasn't enough, the director also had to include some necessary "men are evil" propaganda, when the main character's drunk uncle tries to rape her, in the aftermath of her daughter's wedding.. another ridiculous and exaggerated plot twist.If you carefully examine all recent foreign Oscar nominated movies, you will find some of these elements present in the plot.. and this of course is no accident, as the (((people))) who run Hollywood know exactly what kind of anti-white propaganda to promote.

billcr12 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.

gregking4 Claudia Llosa's drama The Milk Of Sorrow is an award winning film that has toured the festival circuit and was also Peru's entry for the 2010 Foreign Language Oscar. The central character here is Fausta (played by Magaly Solier), who has grown up hearing her mother's horror stories about rape and the atrocities committed curing the violent 1980's in her native Peru. Traumatised and sexually repressed, she plants a potato in her vagina, which is meant to ward off potential rapists. Fausta has been suckled on "the milk of sorrow", which basically means that the horrors endured by her mother whilst Fausta was in the womb have been transmitted on to her through breast milk. When her mother dies, Fausta has to try and raise some money in order to transport the body back to her home village and pay for the funeral. She lands a job as a maid to the imperious and emotionally stolid Mrs Aida (Susi Sanchez), a singer preparing for a concert. The dark and eerie home on the outskirts of the city is symbolic of Mrs Aida's own sterile and empty life. When the woman hears the shy Fausta sing, she offers her pearls from one of her necklaces in exchange for the occasional song. Fausta also strikes up a friendship with the gardener Noe (Efrain Solis), who shares his passion for flowers with her. The garden is a metaphor for growth and freedom, and becomes hugely symbolic as Fausta slowly begins to reconnect with the world and discovers that even the most withdrawn and traumatised of women can flourish. The Milk Of Sorrow is the second film from director Llosa, and she handles the material with restraint. Llosa draws a strong and surprising contrast between the humour and beauty of life in the slums and the fear and isolation that permeate life in the city. The film also offers some insights into the culture, traditions and superstitions of village life in contemporary Peru. Peru's recent history of violence, particularly under the Shining Path, and war inform this contemporary drama, and the events of the past cast a muted shadow over the events. Even though these horrors are a distant memory for most they still resonate strongly for many of the characters here. Solier, who also appeared in the director's first film Madeinusa, gives an understated performance as Fausta. Natasha Baiers' cinematography is beautiful, and Selma Mutais' haunting music score enriches the film. However, the film is languidly paced, and its slow pace means that many in the audience will fail to connect emotionally with Fausta's journey. It is easy for audiences to somehow remain detached from the whole thing.