When LucÃa's husband mysteriously disappears, she discovers that her life is not what it seems. In the search for her husband, Lucia finds two new friends who help her on her quest: AdriÃ¡n, a charismatic 25-year-old; and FÃ©lix, a seasoned veteran. Together they discover the value of friendship and passion while LucÃa reinvents her life--finding a world she had forgotten, her ability to smile, and her freedom.
This psychological mystery realizes that it is so lucky to have Cecilia Roth in the starring role that her character's name is repeated. "Lucía, Lucía" is such a vortex of plot that the movie begins to suck everything around it into a kind of black hole. It begins with Lucía narrating; she is about to board a plane with her husband, Ramón, for a Brazilian vacation. He disappears with the tickets as the flight is being announced. After the initial shock of her husband's broad-daylight vanishing wears off, she's forced to recognize that her marriage hadn't been a particularly happy one for some time. Ms. Roth's radiance and understanding of Lucía's emotional life gives this movie a touch of necessary psychological accessibility. Movies of this subgenre, in which the protagonist has to come to an understanding of herself by measuring her own life against her previous somnolent bourgeoisie existence, can feel vapid. This is partially because the star has to awaken from her own passivity before our very eyes. Ms. Roth makes Lucía's state a willful ignorance instead, and her emerging recognition of her unhappiness, as new information comes to light, adds a dimension to the material. The film also has two able, love-struck neighbors who lend her a couple of hands: Félix (Carlos Alvarez Novoa) a battered and elderly former political firebrand who still has a bit of a fuse left and Adrián (Kuno Becker), a 20-ish musician determined to prove his seriousness by quoting dense philosophical precepts at the most inopportune moments. Mr. Serrano stages his wobbly adaptation of Rosa Montero's novel "La Hija del Canibal" with lively, fast-moving efficiency. Ms. Roth uses an anticipatory jitteriness, too, and gets to take a deep breath at the end of "Lucía, Lucía." She deserves it, because she's kept the picture going. Elvis Mitchell
2003-07-25 | Elvis Mitchell | Read the New York Times Review of Lucia Lucia