[CFF 22 Review] El apego: An Obsessive Sapphic Treasure
Content Warning: The film this review is based upon contains graphic depictions of sexual violence, homophobia, and self-harm. If such images or discussions feel unsafe for you to watch on-screen, avoid this film and protect your heart.
Going in clueless to Valentín Javier Diment’s El apego (The Attachment Diaries), I hadn’t the foggiest idea of what to expect, save a sapphic plotline amidst a ‘Hitchcockian’ landscape. Either way, sapphic plotline? ‘Hitchcockian’ landscape? Ummm…sign me right up please. Needless to say, I was sold on the film instantly, though I must also confess that it was even better than I expected.
As if an intoxicating fusion between The Beguiled (both the 1971 and 2017 versions apply), Mulholland Drive (2001) and À l'intérieur (2007), El apego utilizes surreal and dreamlike imagery to establish the complexities of a most haunting relationship. It’s the kind of film that sticks with you like hot honey and the way with which the story unfolds is downright wicked and innovative.
Following Carla (Jimena Anganuzzi) and Irina (Lola Berthet), Diment’s film tells the tale of two intriguing women as they navigate the bloody terrain of a murderous romance. After seeking the services of gifted obstetrician Irina, Carla—who reports her pregnancy to Irina as being a result of rape—hopes to get an abortion from the doctor. Irina, however, tells Carla that it would be a dangerous procedure to perform at this juncture in her pregnancy and the two, subsequently, craft a plan to give the future child up for adoption. Ultimately, Carla and Irina decide to cohabitate until the baby is born, and this inspires a series of fatal events that will forever change the trajectory of both of their lives.
Through thoughtfully constructed and stylish cinematography, Diment creates a touching, deep, and horrific love story reminiscent of the worlds of Buñuel and Lynch. Making generous use of off-beat camera angles, experimental color palettes, and shadows and silhouettes in lieu of gory violence, he draws the viewers right in to the characters’ spine-chilling world. A creative entry into the realm of indie art film, Diment explores the intricacies of grey areas, compatibility, and infatuation. In fact, one of the elements of the film that I appreciated the most was the endearingly imperfect traits exhibited by both of the main characters. Yes, they were heavily flawed…and, yes, there is a breathtaking quality in flawed characters—and to echo the voices of other members of the queer community—there is an especially breathtaking quality in flawed queer characters. As a flawed queer character myself, this film was a breath of fresh air for me to see.
So, would I recommend El apego to lovers of queer and genre cinema? Well, hell yes, I would! Though, there is a caveat. Given the constant criminalization of uterus-possessors’ bodies and the rampant, ongoing violence towards LGBTQIA+ folk in general, this film can prove very painful to watch. While the carnage in the film is visually moderate compared to the intensity of its themes and allusions, there is a bleakness in the subject matter (and even the sound design) that could be uncomfortable for potential viewers. Having said that, I was blown away by this sapphic chiller and am eternally grateful for the tempestuous nuance it portrayed; all I would advise is to approach with caution.