10/06/2025 - Nayra Ilic García’s sophomore feature offers a quietly restrained yet sincere coming-of-age story set against Chile’s transition to democracy

World-premiering in the International Narrative Competition of this year’s Tribeca Film Festival, Nayra Ilic García’s second feature, Cuerpo Celeste, is a quietly powerful coming-of-age drama set in a Chilean coastal town in 1990. The film navigates the fragile transition of both a young girl and her country emerging from the shadow of Augusto Pinochet’s dictatorship, offering an honest and restrained portrayal of personal upheaval.

The narrative revolves around a 15-year-old called Celeste (newcomer Helen Mrugalski), who spends New Year’s Eve at the beach with family and friends, embodying the hope of a new democratic era. This idyll is shattered by a tragic event that plunges her mother into crisis and forces Celeste to confront a drastically altered reality. Nearly a year later, drawn by the anticipation of a solar eclipse, Celeste returns to the same coastal town only to find everything – and everyone – has changed.

The story’s pivotal turning point occurs at around the 25-minute mark, near the end of the first act, when the tone shifts and the central conflicts take hold. However, the overall rhythm tends towards a measured pace that at times may feel overly deliberate. This restrained tempo reinforces the introspective mood but risks losing viewers seeking a more dynamic narrative drive.

Technically, Cuerpo Celeste is handled with care and competence. DoP Sergio Armstrong crafts a visually rich palette dominated by earthy tones and warm browns – reflected in the sand, locations and costumes – that evoke a tangible sense of place and time. The cinematography elegantly balances the naturalism of the Chilean coast with the emotional landscape of its characters. The sound design complements this with a thoughtfully curated soundtrack, where David Tarantino’s score blends seamlessly with the ambient crashing of waves, which almost becomes a presence in and of itself.

The cast delivers generally solid performances, marked by credible restraint. Moments of solitude, conflict and anger – expressed through whispered confrontations, occasional slaps and bouts of shouting – remain grounded and never veer into melodrama. Notably, Mrugalski’s portrayal of Celeste is particularly impressive, capturing a nuanced mix of vulnerability and quiet strength without her ever overplaying her role. Her performance anchors the pic’s emotional core with subtlety and grace.

While Cuerpo Celeste unfolds with sincerity, it notably lacks moments of bold creativity or narrative risk that would have the potential to elevate it beyond a “correct” execution. Its aesthetics and story are polished and carefully contained, yet it stops short of venturing into the raw, unpredictable territory that could make it truly memorable or transformative.

On the plus side, the sociopolitical context is integrated organically without it becoming intrusive or didactic. The coming-of-age theme is handled delicately and avoids common clichés, allowing for a fresh and tender exploration of adolescence against a backdrop of national rebirth. The use of the solar eclipse as a narrative motif is both effective and symbolic, underscoring themes of change, uncertainty and renewal.

Ultimately, Cuerpo Celeste succeeds as an honest depiction of a youthful idyll disrupted and the tentative forging of a new path in an unsettled world. The tale concludes with a satisfying resolution that underscores its themes without resorting to easy answers. Though it may not break new ground or offer extraordinary insights, its straightforward and heartfelt storytelling, combined with technical finesse and a standout lead performance, mark it out as a commendable sophomore feature.

Cuerpo Celeste was produced by Chilean outfits Planta, Horamágica and Oro Films, together with Italy’s dispàrte. Rome-based Intramovies is selling it worldwide.