The Heiresses

Marcelo Martinessi’s film is an autumnal study of a reclusive Paraguayan woman in her 60s who takes tentative steps to reconnect with the world after the companion who has long overseen her affairs goes off to prison. A restrained, stately character study with a deep emotional core, The Heiresses showcases a remarkable performance from Ana Brun as shy, reserved Chela, who has lived in the same Asunción house ever since she was the pampered child of a well-to-do family, sharing it for years with her lover Chiquita (Margarita Irún). Chiquita has taken responsibility for all practical matters, including the sale of many of Chela’s prized family belongings to keep them afloat, but when Chiquita goes to jail for fraud—where she makes new friends—Chela must fend for herself. Taking her father’s old Mercedes out of the garage to visit Chiquita, Chela is approached by an elderly neighbor for a ride, and soon becomes a professional driver for rich old ladies, learning from them—and a brassy younger woman named Angy (Ana Ivanova)—how to become more self-reliant. By the time Chiquita returns, she finds that the house is a much changed place. A subtle tale of female liberation with a nuanced central performance, this is recommended. (F. Swietek)