Writer & Director:  Sebastián Lelio 

Following on from last year’s excellent Disobedience, Sebastián Lelio has taken on what must be one of the more bizarre directorial experiences, the English language shot-for-shot remake. In this case, Gloria Bell is a remake of his own Spanish language film Gloria originally released in 2013. In this version, the ever-wonderful Julianne Moore stars as the titular Gloria, a 50-something divorcee who has flung herself without anxiety into a world of dating, dancing and secret smoking.  

Gloria Bell’s narrative essentially follows her relationship with supposedly recently divorced Arnold, played by the icy John Tuturro, and the frequent and rib-jolting bumps their relationship takes. The opening sequence is the film in microcosm; as the camera pans down, we see room full of middle-aged love seekers awkwardly dancing to an 80’s DJ set, the soundtrack to their original youth into which they are now having to re-enter. From the first shot of her as Gloria, Julianne Moore is sublime; it’s a deeply felt, intimate portrait of a woman, while at some level lonely, thoroughly enjoying her life.  

Gloria’s life is very much defined by activity. She goes dancing, to yoga, to some kind of hipster laughing class and to dating evenings. Lelio’s depiction of middle-age is one in which spontaneity has dispersed, to be replaced with by-the-hour fun. But these activities, repeated throughout the film, take on profound meaning. As the film progresses Gloria’s interaction with these activities begins to reflect her emotional state. Her dancing, which first represented her romantic and sexual desire, by the end reflects her freedom. This is also reflected in Lelio’s direction, as we see repeated mirror frame shots of certain aspects of Gloria’s life, like singing in the car, and these repeated shots allow us to see Gloria’s emotional progression throughout the film.  

Gloria and Arnold’s relationship is strange, mainly due to Arnold’s emotional instability. He refuses to introduce Gloria to his daughters and seems determined to keep their relationship removed from all other aspects of his life. The reasons for this become apparent during the film’s climax. He is also prone to engaging in emotionally noxious behavior, such as calling her every five minutes during a break-up. Their sexual relationship is presented starkly by Lelio and there is a certain empowerment to seeing a clearly defined 50-something woman enjoying a fulsome sex life. But there is one shot, in which Arnold and Gloria are in bed talking, and Julianne Moore’s breasts are exposed. It is obviously there to show the intimacy between the two characters, but it struck me as unnecessary and overly gazey.  

But overall, Gloria Bell is another excellent addition to Lelio’s already impressive oeuvre. He has knack for representing experiences that are not his own with a tender and realistic touch. Julianne Moore’s fantastic Gloria is a wonderfully drawn character, filled with joy and sadness and desperation and hope. The film’s final sequence is glorious, as Gloria tells Arnold to do one in an act of brutal but hilarious revenge.Gloria Bell is a heartfelt but unsentimental surprisingly sensual look at middle-aged life.  

8.5/10