Marina is a young waitress and aspiring singer. Orlando is 20 years older than her, and owns a printing company. They are in love and planning for the future.
After celebrating Marina’s birthday one evening, Orlando falls seriously ill. Marina rushes him to the emergency room, but he passes away just after arriving at the hospital.
Instead of being able to mourn her lover, suddenly Marina is treated with suspicion. The doctors and Orlando's family don't trust her. A woman detective investigates Marina to see if she was involved in his death. Orlando's ex-wife forbids her from attending the funeral. And to make matters worse, Orlando’s son threatens to throw Marina out of the flat she shared with Orlando.
Marina is a trans woman and for most of Orlando’s family, her sexual identity is an aberration, a perversion.
So Marina struggles for the right to be herself. She battles the very same forces that she has spent a lifetime fighting just to become the woman she is now – a complex, strong, forthright and fantastic woman.
I see A Fantastic Woman as a film of aesthetic splendour, narrative vigour, tension and emotion. Polytonal, multi-experiential, multi-emotional.
It’s a film that is both a celebration and examination of its main character: Marina Vidal.
What will the viewers see when they see Marina? A woman, a man, or the sum of both? They will see a human being who constantly changes before their eyes, who flows, vibrates and modifies herself. What they are seeing isn’t precisely what they are seeing, and this condition turns Marina into a vortex that attracts the viewer’s fantasy and desire, inviting them to explore the limits of their own empathy.
Original title: Una mujer fantástica
Production year: 2017
2018 Golden Globe nominee for Best Motion Picture - Foreign Language