
In La Paz -as opposed to many other cities- the rich live below, which is the Southern District. Life goes on without major mishaps in a large house surrounded by a beautiful garden. It is a wonderful world, a great bubble of comfort, where different personal spheres coexist: the mother, along with her three children and the Aymara inhabitants of the house. The drama surfaces slowly, without narrative ploys, observing day-to-day activities until internal and external forces m... (Full plot summary below)
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In La Paz -as opposed to many other cities- the rich live below, which is the Southern District. Life goes on without major mishaps in a large house surrounded by a beautiful garden. It is a wonderful world, a great bubble of comfort, where different personal spheres coexist: the mother, along with her three children and the Aymara inhabitants of the house. The drama surfaces slowly, without narrative ploys, observing day-to-day activities until internal and external forces make the bubble burst. The film relates the story of the final days of an upper-class family, at a time when the country is undergoing social changes.
Leave your thoughts about Southern District.
| Total FilmTom DawsonValdivia captures his characters' bubble-like existence without neglecting the bigger social picture. |
| Miami HeraldRene RodriguezSouthern District feels like a snapshot of a world on the brink of extinction. |
| Playback:stlSarah Boslaugh...uses a constantly-moving camera (usually panning right) along with odd angles and mirror shots to give the viewer the sense of being a voyeur seeing things normally kept out of the public eye. |
| User ReviewSugarissa Candy Ji like this movie and i like this kind of movies. ^o^....i like the house very much i could wish to have a one like that. in a soap opera taste, moving and easy to watch!!!!!!!!!!! i think my first bolivian movie!!!!!!!!!! *o* |
| User ReviewJack GThis film is one of those 'as time goes by' kind of movies. They're out there, and sometimes they are shot in still images unlike this film (You, the Living comes to mind), but they're not too common and only some can pull it off. It's like we're following everything that the characters are doing, and our own following them, the cinematographer's fascination seeping out over to us, is what makes it fascinating (or at least in theory). In Southern District the director Juan Carlos Valdivia takes his roaming never-stopping camera on to decay and disorder (almost as a rule like Godard's Weekend with the rule of never-stopping the tracking shot during a traffic jam). In this case it's not very quick but a slow burn as a Bolivian family that has money but no power sees itself fleeting in a place where many of their friends question why they stay, and the indiginous servants look on with shaking heads. Only the young Andres is innocent to what's going on. What made me interested was to see how long Valdivia could keep the shot going, or where he could take it. This is an experiment in mis-en-scene as he tries to find ways to keep the actors blocked within reason - there's not much outside of the surreal flights of fancy with Andres and his mother with wings flying in the sky that is unusual, maybe that's enough - and sometimes a shot will go on as long as five minutes. But his tracking shots are with some taste and style, for example in sex scenes with the younger people of the family he only shows so much nudity and the actors still make it erotic without going too far. It's tough and clever to pull off at the same time. As for the characters themselves, they are sometimes quite interesting - the Mother of the family, who can look like a one-dimensional shrew, has some depth in unexpected moments and is fully rounded because she does have love and reason amid her upper-class leanings. And the Indians are really fun to watch, especially when the one guy puts on his boss' lotions and cologne's and does a full shower in their bathroom. Other characters like the siblings Patricio and Bernada are less interesting, but then are in their shallow upper-class existence anyway, dominated by sex and gambling and alcohol and other things. But still that camera goes, and we keep watching as, oddly enough not a lot goes on. For some that may be distracting. It may be too much and call attention to itself that the camera doesn't stop circling (though not too fast, always noticeable) during a dinner scene, or when two characters are just walking in the room). There's an anxious energy to the film that mirrors the anxiety of living this way, and living on the edge of despair that they are doing. We may not feel sympathy for their plight, but if you can buy into what the director's doing the goals are met. It's a little-discovered experiment that has the air of Brian De Palma tackling Luis Bunuel. |
| User ReviewCe Ga family drama, spinny camerawork, never leaves the house- sounds bad, but the story and dialogues are excellent |
| User ReviewGeorge BSouthern District | Zona Sur is a very convincing portray of a bolivian upperclass family exploring inner-family and identy-conflicts and socio-cultural issues in a divided bolivian society at a time. Beyond that, it is a cinematographical experiment with a determined visual form that is maintained from the beginning till the end. The great acting and powerful characters make the movie convincing and the clashing attitudes worth a thought. |
| User ReviewPaolo RUpstairs / Downstairs: Bolivian style. Nothing new in a story of corrupt riches living on borrowed time and money, but an interesting cinematic style that adds unease, and symbolizes both a world in flux and an aspiration to flee. Camera didn't stay still for a minute. |