Princessas Rojas

LAURA ASTORA CARRERA, COSTA RICA/VENEZUELA, 2013

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Claudia at her decisive moment, two seconds old.

Some families activities are framed by religion, some by employment, but when your family is engaged in life and death politics, every family member is engaged in the singular mission.

PRINCESSAS ROJAS lands us in the private lives of two pro-Sandinista activists working against the U.S.-backed Contras in Nicaragua in the 1980s war.

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Claudia places her prized “pioneer” awards in her new temporary room.

In the opening scene, the activists’ two school-aged daughters watch silently from the back seat of a car: seeing exploded landscape, soldiers and their parents’ tense grips. This image and tension permeates the story and becomes a metaphor for the life, which though she has believed in it up until then, Claudia increasingly wants to change.

At her new school, a teacher’s beautiful singing voice launches Claudia’s desire to have that for herself and in a burst of adolescent defiance, she is forced to take up her own mission.

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Collective brainstorming.

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Intersection.

Our team found the changing intersection between the parents’ mission versus children’s developing need for their own world particularly fascinating and poignantly exposed in the film.

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