Rita was the first film from the Imagine Fantastic Film Festival program that excited me. I have patiently awaited Jayro Bustamente’s latest film and set the bar high after watching La llorona (2019). Unquestionably, I knew Rita would be incredibly moving and beautiful to watch. Inspired by the 2017 Guatemala orphanage fire, Bustamente brings us this dark fantasy horror film told from the perspective of a 13-year-old child confined to a state-run children’s home. He brilliantly weaves the real-world atrocities and abuses committed against these children with fantasy elements to paint a haunting and poignant tale that led to the deaths of 41 girls.
Rita is written, directed, co-produced, and co-edited by Jayro Bustamante. The film stars Giuliana Santa Cruz as a 13-year-old girl who, escaping from her abusive father, finds herself in the state’s custody. Along with her cellmates, she plans a violent escape. This film marks the first feature co-produced between Guatemala and the United States.
Rita’s Cold Welcome
First and foremost, Rita may be a fictionalized character, but the Guatemala orphanage fire was a true event. On March 8, 2017, a fire at the Virgen de la Asunción Safe Home in San José Pinula, Guatemala, killed 41 girls aged 14 to 17, who had been locked in a schoolroom after protests and an escape attempt. Consequently, three government officials, including the Secretary of Social Welfare, were arrested for wrongful death and negligence. Mainly, I’d like to warn the audience of sensitive topics like sexual and physical abuse, exploitation of minors, and child sexual abuse material. These are discussed and described with a delicate approach. Rita is the voice of this story.
Rita arrives at night with a woman guard who escorts her to a dormitory room of sorts. She receives basic clothing items and no instruction. The place is in disrepair and looks more like a prison, with many large rooms filled with girls. During the night, she is beaten by a number of her new roommates and told to wash up with the rest of her cellmates in the morning. They are all small and young and must shower outside while monitored by male and female guards with a few sheets hung for privacy. The food is as miserable as the mood.
Hopes and Dreams
“The objective of the film is not only to talk about this case, because that would minimise what really happens with children [in Guatemala], and especially girls. The objective is to talk about our responsibility as a society towards children.”
Without introduction, Rita receives a pair of wings similar to those worn by the other girls in her group. Surrounding her are groups of other teenage girls—some dressed as bunnies (all of whom are pregnant), some as fairies, and a shadow-clad group that seems to exist in a parallel plane. Notably, the only crimes these girls have committed are living in poverty, being orphaned, abused, or unhoused; additionally, some may have also been sex-trafficked or simply have nowhere else to go. They receive little education or basic necessities and are forced to work laborious jobs without pay. Thus, the atmosphere is cold and unsettling.
Bustamente creates a fantastical world where children confront the abuses of their reality with fairy tale characters and evil monsters. Instead of elaborate effects, he uses simple costume pieces that keep us grounded in reality. The setting is harsh and secluded from public eyes. The camera’s lens is always focused on these girls. Sadly, they openly discuss difficult topics, such as sexual assault, physical abuse, incest, pregnancy, and abortion. And yet they play and tell stories. Furthermore, there’s an air of familiarity with each girl as they meet each other and an unspoken bond.
No Happily Ever After
“The moment they took matters into their own hands and decided to stand up against these dark beings who take advantage of their fragility, they became heroines.”
The Witch is an excellent character representing the children’s obstacles and inhumane treatment. She interviews and questions all the girls with no empathy and is antagonistic. She isn’t in this safe house to help, she is injustice. When interviewed by The Witch, Rita, stoic and composed, speaks matter-of-factly as she recounts her years of violence at the hands of her father. Despite the old woman’s dismissive attitude, Rita does not relent. Now, she is not just speaking up for herself but also for her younger sister. Thereafter, Rita joins the others in protest and plots to escape.
Rita may not be real; however, these girls exist now just as they have for decades. Initially, the first sounds of cell phones were jarring, and it was a startling realization that these girls are part of our present. They are, in fact, like all teenagers with aspirations and friendships, making them relatable across all generations. I could see myself in their stories and in the shoes of any of these girls. Furthermore, they created their own community with a chain of command; they care for and support each other. Ultimately, they share a common dream in the form of a prophecy: a savior, an angel who will set them all free.
All the Awards
Jayro Bustamante has a remarkable ability to help us understand and empathize with these girls’ experiences. The casting of non-actors lent this film another layer of realism, and they were amazing in these difficult roles. Giuliana Santa Cruz’s performance was superb and gave them one all-encompassing voice. Ángela Quevedo was impressive as Sulmy, a true friend and protector, and Alejandra Vásquez shined as the intrepid and bold Bebé. Lastly, Isabel Aldana is a passionate and proud voice, uniquely representative of the girls’ determination and strength.
Rita is a story that captivates and demands it be heard. Society branded these children as delinquents and criminals who deserve incarceration. It’s reminiscent of so many of our cultures and histories and continues to repeat itself. We have the privilege of existing outside of these atrocities. There is a magic in their reality, and yet it’s far from being a fairy tale. These girls were fairies, angels, and warriors, and there were very real monsters who stole their innocence and watched them burn. Rita will premiere on November 22, 2024, on Shudder.
