');var c=function(){cf.showAsyncAd(opts)};if(typeof window.cf !== 'undefined')c();else{cf_async=!0;var r=document.createElement("script"),s=document.getElementsByTagName("script")[0];r.async=!0;r.src="//srv.tunefindforfans.com/fruits/apricots.js";r.readyState?r.onreadystatechange=function(){if("loaded"==r.readyState||"complete"==r.readyState)r.onreadystatechange=null,c()}:r.onload=c;s.parentNode.insertBefore(r,s)};})();
Elisa Miller’s “Hurricane Season” adapts the Booker-shortlisted novel of the same name by Fernanda Melchor. The narrative is an unflinching excursion into the dark heart of Mexico, rampant with crime, violence, and the notoriously shady. It is a sick, revolting tale filled with grime and repulsion. Critics have pointed out that both the film and the book wallow in the usual misery trope that plagues depictions of Mexico.
Undeniably, the film tackles the ruptured social fabric and the rot that has settled deep within Mexican society. Whether the film is exploitative or exploratory is up for debate, although it does lean heavily into rehashing deeply upsetting images without appropriately lending the women – on whom most of the disturbing stuff is predicated – dignity and agency. Sure, the landscape is such that it is thickly loaded with ugly, vicious masculinity and a wellspring of misogyny that the female characters would ultimately struggle to rise above the stamp of slurs that’s embossed on their bodies.
The switch among various perspectives, two tracks incorporating female voices, brings the fragmented story into place by the end but the women barely get utterance even if they occupy perspective space. This is why Miller’s film comes off as stubbornly defeatist, vaguely sketched, and supremely indulgent, whereas it should have been biting and taut. Divided into chapters spread across the varied perspectives charting the dimensions of the central murder, the structuring doesn’t benefit the narrative engine, leading to a strange disjointedness, defusing tension instead of lacing it with myriad layers and hidden edges. Ultimately, the film reveals pretty much everything to the viewer. But the unfurling of the narrative is choked with underdeveloped characters and impulsive, rageful circ*mstances.
Hurricane Season (2024) Plot Synopsis:
Who Killed the Outcast, and Will Anyone Care?
The film is set in the fictional village of La Matosa. It is a tightly-knit small community where secrets cannot be repressed for long before they tumble out into the open. It enhances a toxic, vitiated atmosphere of spiteful misogyny and deeply embedded masculinist entitlement. The men believe themselves as wielding the ultimate authority in the place, freely stalking women and punishing those who refuse to play by their imposed rules. The social terrain is fraught with difficult, undesirable realities, exuding the air of a wretched, terribly godforsaken place. The body of a woman is found rotting in a canal. A trans woman, she was labeled a witch who ensnared young men. Infamy surrounds the reputation of the witch. For as long as she was alive, the village subjected her to immense denunciation, casting all sorts of nasty aspersions on her.
Villagers alleged she housed her mother’s corpse in her house and that she made pacts with the devil. She was socially frowned upon, and the elders kept their distance from her. The death of the ‘witch’ comforted the villagers, but curiosity lingers as to how she met with her death. Few people, however, are affected by the murder, demanding a proper police investigation. One of the girls waiting at the police station, Yesenia (Paloma Alvamar), emphasizes her cousin, Luismi ( Andres Cordaz), might have been complicit in the murder.
Was the Witch a Victim of hom*ophobia or Something More Sinister?
She insists she saw her cousin, along with his friend Brando (Ernesto Melendez) and stepfather Munra (Gustavo Morales), who had unloaded the witch’s body into a van and driven away. She details how Luismi attends the parties the witch hosts at her house. Yesenia pines for the affection of her grandmother, who was mostly besotted with Luismi and refused to believe her beloved grandson did the stuff Yesenia alleges. This spurs Yesenia’s move to bring the suspicion on Luismi, who hogs all her grandmother’s love whereas it is she who solely deserves the love and adulation.
');var c=function(){cf.showAsyncAd(opts)};if(typeof window.cf !== 'undefined')c();else{cf_async=!0;var r=document.createElement("script"),s=document.getElementsByTagName("script")[0];r.async=!0;r.src="//srv.tunefindforfans.com/fruits/apricots.js";r.readyState?r.onreadystatechange=function(){if("loaded"==r.readyState||"complete"==r.readyState)r.onreadystatechange=null,c()}:r.onload=c;s.parentNode.insertBefore(r,s)};})();
Leaping across points of view, the film swerves to include the character of the fourteen-year-old Norma (Kat Rigoni), who fled home and a rapist father. Luismi shelters her, and the two soon become intimate. Norma doesn’t inform him she is pregnant, which Luismi’s mother, Chabela (Reyna Mendizabal), instantly realizes and insists on her getting rid of the baby. Chabela takes her to the witch and makes the latter make a juice that can spike up the abortion. Against the advice of the witch, Chabela insists she can take care of Norma. However, left unsupervised, Norma bleeds into her abortion. At the hospital, Norma indicates Luismi to be responsible for her condition.
Both Brando and Luismi have repressed queer selves. While Luismi finds a safe space in the witch’s house, Brando is repulsed by his own queer desire. The witch had lent Luismi money in exchange for which he slept with her. However, Brando steals it. When he finds the money gone, Luismi incriminates the witch, who is naturally enraged at such an accusation.
Hurricane Season (2024) Movie Ending Explained:
What is the Motive Behind the Brutal Murder of the Village Outcast?
The two have a heated argument, following which Brando suggests to Luismi that they run away from this village and rebuild their lives somewhere else. Brando insists on robbing the witch. After drunkenly making out with Luismi, Brando is wedged in deep shame. He is incensed at the witch for encouraging and fostering more queerness and stays convinced she has to do with his diminishing/threatened masculinity.
Luismi finally accepts the proposal of Brando. The two storm the witch’s house, demanding the gold coins that have long been attributed to being in her possession. She insists she has no such fortune and asserts her financial dire straits. Brando lashes out at her, hitting her. She is clobbered to death by a seething Brando, who is certain of her guilt in luring his repressed queerness to express itself explicitly.
The fact that he slept with Luismi makes his murderous rage towards her escalate further. The two stow away her body in the canal. Ultimately, bolstered by the testimony of Yesenia, Luismi, and Brando are apprehended into custody. In jail, the two are subject to vicious hom*ophobic slurs. Nevertheless, they find a sliver of peace in sharing the same space and being together. They may not have been able to escape and make a fresh start, but they can lean on each other.
Read More: Everything Coming to Netflix in June 2024
Trailer:
Hurricane Season (2024) Movie Links: IMDb, Wikipedia
The Cast of Hurricane Season (2024) Movie: Edgar Treviño, Paloma Alvamar, Gustavo Morales, Kat Rigoni, Ernesto Meléndez, Andrés Córdova
Hurricane Season (2024) Movie Genre: Drama, Thriller | Runtime: 99 min
Where to watch Hurricane Season
Trending Right Now
- 15 Best Joaquin Phoenix Movie Performancesby Georgia May●May 20, 2023
- 10 Best Emma Stone Performancesby Georgia May●March 5, 2024
