‘Reinas’ Review – A Stirring Portrait Of Complicated Family Dynamics [Sundance 2024]

At first glance, director Klaudia Reynicke-Candeloro’s latest film may appear to be a typical father-daughter drama in which the story beats land predictably with reconnection and reconciliation afoot. However, the complications of real life and the varying degrees of political pressures in 1992 Peru create a dynamic and stirring portrait of a Peruvian family in the 2024 Sundance selection Reinas.

Torn between staying in their hometown of Lima and pursuing new opportunities by immigrating to the United States, Elena (Jimena Lindo) and her two daughters, Lucia (Abril Gjurinovic) and Aurora (Luana Vega), find their plan to move interrupted by the return of their distant father, Carlos (Gonzalo Molina). With rapidly increasing inflation and political tensions in the country, time and opportunity are of the utmost essence as Lucia and Aurora learn to trust their father again.

With emotionally rich dialogue and riveting, multi-faceted characters and conflict found within the core family, Reinas is a remarkable achievement for writers Reynicke-Candeloro and Diego Vega Vidal. The film’s political backdrop is always felt (oftentimes played on the television in the background) while also making us empathize with the family’s hesitation toward letting Carlos back into their life.

Reynicke-Candeloro is particularly effective at slowly building tension over time. The initial tension arises from the question of whether Carlos will sign the legal papers necessary for Elena, Lucia, and Aurora to travel to the United States. This eventually morphs into something much more complex — a question of if they even want to leave anymore.

As the flawed father figure who ultimately represents the heart of the story, Carlos and his backstory remain largely ambiguous throughout most of the film — and to great effect. The generational gap is widely felt here, especially for younger sister Lucia, the only person in the family who initially believes Carlos is a secret agent. This speaks to how we as kids create narratives and stories about who we think our parents are. But there’s always that inner, subconscious feeling that we will never fully know who our parents truly are. Especially with a shortsighted perspective.

While the father’s complicated relationship with his two daughters is crucial, the vital, most important bond in the entire film is one between two sisters. Through difficult choices and flights, they always manage to stick together, even as they both find themselves interacting with their dad differently. Lucia is more open to Carlos from the offset while Aurora sees Carlos’ offerings as a way to hang out with friends. This is brought to life perfectly through Gjurinovic and Vega’s subtle but impressive performances — two new actors who deserve more opportunities in the film industry moving forward.

Finally, while Diego Romero’s cinematography doesn’t necessarily call attention to itself through the film’s more naturalistic directing style, it’s worth praising nevertheless. The lighting in particular tells a story that the characters themselves often aren’t articulating. The two sisters are frequently framed in front of curtains with sunlight pouring onto their faces — the glimmering hope of a new life away from where they’ve been in their whole lives juxtaposed with the fear of leaving.

Reinas should, without a doubt, be considered for the Best International Film award next year. While the ending scene feels slightly overdone, Reynicke-Candeloro crafts a film that is equal parts emotional, tense and playful. The intricacies of a family re-imagining what their life has in store for them, and the consequences of leaving loved ones behind, proves to be the film’s most compelling gesture.

Reinas had its World Premiere in the World Cinema Dramatic Competition section of the 2024 Sundance Film Festival.

Director: Klaudia Reynicke

Writers: Klaudia Reynicke, Diego Vega 

Rated: NR

Runtime: 104m