CAPSULE: Gloria (2014, Dir. Christian Keller)

There's a lot of life in Gloria. There'd have to be to even come close to the energy of its punk-pop princess Gloria Trevi, who tore through the Mexican music scene back in the '80s and '90s.

Young Sofía Espinosa, who takes on the controversial role, brings a solid balance of ballsy bravado and naiveté to Trevi, giving rise to the film's hint of critique of the industry's star-maker machine, but there is something a little off about the whole setup. And not just the rampant child abuse elephant signaled early in the piece.

Despite a serviceable flashbackandforward structure, director Christian Keller and his writer Sabina Berman (one of Mexico's most celebrated contemporary playwrights) struggle to balance the tone between Trevi's ascension to starlet and the escándalo that brought her crashing back down. Primarily they tangle uncomfortably with the need to position Trevi in the events that saw her manager, Sergio Andrade (Marco Pérez) brought up on to multiple charges of statutory rape and child abuse.

Early in the piece they brush some pretty concerning behaviours aside for the sake of a laugh, later they play them out inconvenient compulsions. Rarely do they impact Trevi herself, which even within Keller's frame seems quite ludicrous. To portray it all as rampant naiveté feels like a convenient, PR-serving cop-out. It certainly makes for a less than nuanced film.

If these omissions of characterisation can be pushed aside (and that is a big if), there are plentiful moments of energetic delight and unsettling drama. Which is to say, Gloria is not a total wipeout. Pull another layer off this and the impact would have been amplified immeasurably.

★★

Trailer: