A free spirited model from Kosovo settles in Mexico City and must decide whether commitment to one man is what she really desires. Unfortunately, she leaves a considerable path of destruction in the process.
Fernando Frias’ romantic comedy, Rezeta, follows the young jetsetter through her first day in Mexico City to her last. The adventure begins when Rezeta (Rezeta Veliu) auditions for a modeling job, alongside several other girls. All of the contenders are told to portray a variety of emotions while dancing in front of a camera—and while Rezeta’s dance moves are a bit inhibited, and her emotions are all the same—she definitely has a unique style.
Part of the problem may be due to Rezeta’s inability to speak and understand Spanish, and though she meets many men willing to help her overcome her language barrier (both in and out of her clothes), the resourceful girl eventually solicits the aid of one man in particular. Surprisingly, this is Alex (Roger Mendoza), the man who cleans Rezeta’s trailer when she’s on location at a modeling shoot.
Alex is the polar opposite of Rezeta’s usual wealthy, handsome and sophisticated choices (of which there are multitudes). Not only is Alex indigent by choice— but he has absolutely no ambitions other than to downgrade and he despises commercial success. Clad in tee shirts with anarchistic sayings, the disheveled Alex seems out of place and time, and would be much better suited to the 1960s—though oddly, he’s clearly uncomfortable drinking and smoking joints. He does indulge in the latter two, however, for Rezeta’s sake, but not without balking. Of two thing Alex is adamant: he will never get married or have children—in spite of the fact that he does get talked into sharing an apartment with Rezeta.
OK, I’m pretty sure you know where all this is heading… right?
Right—and therein lies my problem with this film that I so wanted to adore, and sadly, could not.
What drags Rezeta down in my opinion is that the film stagnates because nothing happens other than Rezeta partying, getting polluted, arguing and making up with Alex— and never, ever, ever communicating any true emotion to the man she claims to love. Keep in mind that I have nothing against tales about nothing as a rule, being a huge fan of the Seinfeld-concept— but I do become bored when the true meaning of a story is never fleshed out in the narrative structure.
What I would have liked is if more emphasis were placed on the sociopathy of the lovely Rezetta; her inability to communicate has very little to do with speaking Spanish, though interestingly, she does master by the end of the movie.
As for the good news about Rezeta—lead actress Rezeta Veliu really nails the part, but of course, she’s restricted by the screenplay. Roger Mendoza brings Alex to his embittered, downtrodden life in a manner that feels very authentic—but as always, even the best of actors can’t save a film from its writing. Still, the movie does unleash an avalanche of argument—both pro and con—and that’s always a very good thing.
I should also add that in spite of my seemingly negative review of Rezeta, the film is entertaining if you approach it at its surface only, and don’t search for anything else. And for many, that’s usually enough.