‘Oca’

“Oca”

(Mexico/Argentina)

Screened at the 61st Chicago International Film Festival (New Directors Competition) (3/5)

Metacritic (7/10), Letterboxd (3.5/5), Imdb.com (7/10), TMDB.com (7/10); Imdb.com critics review

Web site

Trailer

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Life, as we all know, is full of twists and turns, some that advance us and others that set us back, with others still that facilitate both more or less simultaneously. Making sense of that can be maddening, too, especially for those looking for patterns in the chaos. Issues like this can be particularly meaningful (or mind boggling) for those with a spiritual bent, who try to understand these developments in terms of God’s plan. In fact, on an everyday secular level, those matters have even become enshrined in a popular board game in Spanish-speaking countries called “Oca.” And the principles behind this pastime, in turn, provide the basis for the debut feature from writer-director Karla Badillo, an introspective look at understanding how life unfolds when viewed from this perspective. To describe the film in greater detail would reveal too much, but, in a nutshell, it follows the remarkable odyssey of a prescient Mexican nun, Sister Rafaela (Natalia Solián), whose dream premonitions often come true, leading her to believe that she may have a direct line to the mind of God. But does she? And, if so, can she draw upon such wisdom to help save the failing convent to which she belongs? Under orders from her Mother Superior, she’s sent to seek the counsel of the newly appointed Archbishop of her diocese, who has recently arrived and moved into quarters different from the traditional residence of someone in his position, one that’s also somewhat challenging to reach. As she embarks on this journey, she experiences a series of both setbacks and unexpected good fortune involving others caught up in three separate scenarios that all eventually become interconnected with one another, again for better or worse, once more confirming the rationale behind the Oca principles. In fact, to further evidence these ideas, the unfolding narrative proceeds to validate the merits of a fittingly complementary observation from St. Theresa of Jesus displayed before the opening credits that maintains “He who wants to get everything must give up everything.” This quote thus serves as an embodiment of Oca logic and one that might, by extension, be looked upon as another expression of God’s plan. These ideas are cleverly and poignantly brought to life through the picture’s smartly written script and engaging story, even if it’s a little sluggishly paced in getting the ball rolling. However, as the film plays out and its various intricate connections are revealed, both in backward and forward motion, viewers are treated to an enjoyable and insightful tale that just might help shed some valuable light on the reasons why life emerges as it does, quite a nifty little trick for a parable inspired by a board game. Indeed, if more of us were to treat our life experience more like that, we just might find it considerably less burdensome and a lot more fun in the end.