‘The Wave’ Review: Sebastián Lelio’s Rousing but Elementary Feminist Musical

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2019 saw a group of women, many with blindfolds, take over the streets of Valparaiso, a coastal city in Chile, for a dance and song performance that would later become an anthem. This event was orchestrated by LASTESIS, a feminist collective that embraces interdisciplinary and trans-inclusive perspectives, as a means of aligning with the global impact of the #MeToo movement. The lyrics to their song, which translates roughly to “A Rapist in Your Path,” may not be comprehensible to all, but the demonstration carries a powerful message.

In Sebastián Lelio’s film The Wave, there are scenes that resonate deeply, depicting the 2018 student protests. This lively musical production made its debut at Cannes, but not in the main competition. The narrative follows a fictional character, Julia (played by Daniela López), as she grapples with the repercussions of a recent sexual assault, all within the backdrop of this growing social movement.

Sebastián Lelio’s movie The Wave has scenes that deeply resonate, showing university protests in 2018. This musical film premiered at Cannes but not in the main competition. The story follows a character named Julia (Daniela López), who faces challenges from a recent sexual assault while participating in this movement.

The Wave is a grand spectacle, where Lelio (known for films like A Fantastic Woman and The Wonder) skillfully blends catchy tunes, dance routines, and surrealist elements to convey a message of female empowerment. The visuals are rich and engaging, making it an enjoyable watch, although one might yearn for a more intricate plot. Lelio incorporates some thought-provoking meta-commentary moments, primarily addressing his position as a man dealing with this topic, but the narrative about Julia sometimes takes a backseat to the musical extravaganza.

Despite Emilia Perez’s success in the United States following its debut at Cannes last year, The Wave may find a significant audience here if distribution becomes available. Lelio’s film carries a clear political message, which might strike a chord with younger art house audiences who appreciate thought-provoking content.

Encountering Julia, she’s leaving with her teaching assistant, Max (Lucas Sáez Collins). The outcome of their night together is left unexplored (the camera catches them entering Max’s apartment and the door shutting from our view), yet it leaves an unsettling impact on Julia. The subsequent day at school, female and nonbinary students rally their peers to participate in a protest denouncing how the university manages sexual assault cases. This protest sweeps through the school, and soon more women find the courage to share their own experiences.

Julia initially hesitates but eventually lends her support to the organizing team and becomes part of a committee focused on gathering survivor accounts. Listening to these heart-wrenching stories, skillfully compiled by Lelio with Soledad Salfate’s assistance, ultimately inspires Julia to share her personal experience as well.

In this work titled “The Wave“, penned by Lelio, Manuela Infante, Josefina Fernández, and Paloma Sala, multiple facets of the #MeToo movement and broader dynamics within activist groups are explored with a well-meaning approach. However, the execution can be somewhat unsteady. One of the reasons for this instability lies in the character of Julia, who isn’t strong enough to serve as a solid anchor. At times, her character appears one-dimensional.

At first, a university student finds it difficult to assert herself due to her working-class background and receiving a scholarship, while her attacker hails from affluence. This storyline presents an intriguing perspective on class disparities, along with the paradox that Max perceives himself as a decent individual. This complex dynamic adds depth to the narrative by elevating its significance. It’s regrettable that The Wave didn’t delve deeper into this gray area and address the complexities often encountered in real-life situations involving sexual misconduct.

Regrettably, initially, “The Wave” largely stays shallow, delivering a narrative that might seem elementary for Feminism, at times. Moreover, there’s a recurring metaphor about speaking up, which unfortunately veers into overused territory throughout this two-hour-long movie. However, to his advantage, Lelio ventures more daringly in the latter half of “The Wide Wave,” introducing elements that break the fourth wall and incorporate surrealistic elements, successfully blurring the boundaries between Julia’s current situation and her recollections.

In an intriguing twist, the director delves into the strains that arise among groups organizing due to conflicting aims or discomfort over specific actions. Over time, Julia develops a sisterly bond with Rafa (Lola Bravo), Luna (Avril Aurora), and Tamara (Paulina Cortés) – three other women who motivate her to face her past and bring Max to the attention of university officials.

Despite its shortcomings, “The Wave” showcases a dedication to its captivating, maximalist visual style (Benjamín Echazarreta is the cinematographer, Estefanía Larraín is the production designer and Muriel Parra handles costumes). Director Sebastián Lelio assembles over 100 actors for intense dance sequences (choreographed by Ryan Heffington) that resonate with powerful musical pieces (composed by Matthew Herbert), addressing themes such as the challenges of speaking out as a survivor, manipulative tactics employed by abusers and the ineffective handling of university administrators. The large-scale performances are anthemic, carrying just as much emotional weight as LASTESIS’ enduring protest song.

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2025-05-25 18:54