Mexican Berlinale Hit “Robe of Gems” to open in theaters on Women’s Day

By Jeff Sipe and Nina Rodríguez

There is a lot that is puzzling about “Robe of Gems” (original title: “Manto de Gemas”) from the title itself, to the director’s stylistic decisions, to the characters’ motivations, to the nature of the relationships depicted. Nothing in “Robe of Gems” is spelled out for the viewer leaving one feeling as if they have dropped in unannounced on a small village and are left to their own wits to figure it all out.

The debut feature is from renowned film editor, 42-year-old Mexican-Bolivian Natalia Lopez Gallardo—who is also life and work partner of Carlos Reygadas, a Cannes Best Director award winner, for “Japón” (2002), “Stellet Licht” (2007), and “Post Tenebras Lux” (2012). “Robe of Gems” picked up the Silver Bear Prize at the 2022 Berlinale and has been beguiling and infuriating both critics and audiences ever since. 

The title apparently comes from a Buddhist parable about a man who lives in poverty, unaware that a wealthy friend has secretly sewn a precious gem into his robe so that he can overcome his poverty and live a decent life. From the opening shot that very slowly fades into view to the final shot that will leave viewers both puzzled and profoundly horrified determining who might have that gem sewn somewhere in their clothing is a pretty futile endeavor. The title, it seems, is profoundly ironic. Shame, guilt, disgust, and horror appear to permeate the lives of the film’s characters and a magical way out of their misery seems far-fetched. In fact any possibility, magical or otherwise, of being removed from their misery seems far-fetched.

There is a kind of malaise that overlays the characters’ lives and director Lopez makes sure that this same malaise creeps into the viewing experience as well. Far from Hollywood where characters, motivations, and actions are clearly spelled out, Lopez takes an impressionistic approach to her narrative, leaving it up to the audience to ascertain not only what is driving the narrative but, at times, the narrative itself. The Guardian’s film critic, Peter Bradshaw, questioned whether the sketchiness of the narrative exposition was entirely an aesthetic decision or more a function of a first-time feature director finding her narrative legs. It could be a combination of both. 

Watching “Robe of Gems” provokes the same reactions of disbelief, befuddlement, and despair that inevitably accompany the stories of disappeared Mexicans that fill local broadsheets. At the same time, it impresses on audiences that absolute lack of understanding of the barbarism that characterizes so much crime in this country.

There are a few things we know, however. A wealthy woman with two young children leaves her husband and takes the kids to live in the crumbling villa of her deceased mother. The villa’s long-time maid is haunted by the disappearance of her sister—a situation so commonplace in Mexico that an official working in the missing persons division of local law enforcement tells someone in exasperation, “C’mon, you know we find bodies every day!” 

Meanwhile, one “subplot” follows teen-aged Adan whose mother, a local police officer, is furious at his involvement with local cartels and profoundly dismayed at her own acquiescence, demanded by her superiors, to cartel activities.

“Robe of Gems” does not present a narrative in any traditional sense of the word, and that can be off-putting to viewers wanting to be spoon fed their movie experience. For those seeking an experience that goes far beyond the screen in front of them and requires active participation on their part “Robe of Gems” offers a tantalizing two hours whose effects will linger well past the end credits.Having premiered to much acclaim at the Berlin Film Festival, “Robe of Gems” (“Manto de Gemas”) is released in Mexican theaters March 8 and screening at Compartimento Cinematográfico in San Miguel from opening day.