![]() ![]() ![]() ![]() ![]() In time the camera will settle on a 16-year-old girl, Sofía (Demian Hernández), whose unpredictable moods and romantic complications mark her as the clear protagonist of this story.īut even as it borrows a few beats and riffs from the coming-of-age drama (and from Sotomayor’s own childhood), “Too Late to Die Young” is marked by a fascinating open-endedness, a strange and intriguing reticence as to who and what it’s really about. She soon cuts away from that early image to show us a few others - a dog running down a dirt road, a heap of branches bursting into flame - that are striking enough in the moment and take on an eerie resonance in retrospect. Which is not to say that Sotomayor, a Chilean filmmaker directing her third feature (after “Thursday Till Monday” and “Mar”), traffics in deliberate obfuscation. The tight, deliberate framing of the image is a typical touch in a story that never pretends to offer more than a partial view of events and is in no particular hurry to explain itself. It’s a simple, unremarkable moment in a movie set to the quotidian rhythms of communal life, but it also reveals something of Sotomayor’s methods. In time we will get to know a few of these kids, and also some of the adults we see waving goodbye through the vehicle’s dirt-smudged windows. The opening shot of “Too Late to Die Young,” Dominga Sotomayor’s mysterious and absorbing new movie, is framed from inside a car as it gradually fills up with young passengers. ![]()
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