“Gloria”: The Ghosts of Love in the American Dream
“Gloria” is a cinematic gem that stands out as a heartfelt and authentic portrayal of Latino culture. In a world often filled with superficial depictions, it is refreshing to see Latinos themselves bringing their rich heritage and unique perspectives to the screen — and Gloria is a shining example of this.
Just as it is common in Eastern cultures for the dead to walk among the living, or in Shakespeare’s works for parents’ ghosts to speak to their children to guide them through trials, for Latin culture, the transition between life and death and the concept of the soul’s journey is so ingrained that a story about Gloria’s ghost speaking with Alejandro to reflect on the triumphs and failures of their long relationship feels entirely plausible — though it may appear exotic or amusing to other cultures.
The story unfolds with touches of melodrama and clear nods to the stylistic hallmarks of Latin telenovelas. Interestingly, we don’t see an aged or spectral Gloria as a ghost; instead, we encounter her as an adult, during the most complex moments of her relationship with Alejandro. He is portrayed as a man full of virtues, but also deeply flawed — a husband who was no stranger to lies and infidelity. Yet despite his many faults, he is remembered by his daughters as an exemplary father.
The story revolves around the tension between the ideal of a perfect father, defined by his parenting successes, and the failure of an ideal husband — a struggle that becomes the narrative thread. Through flashbacks, we see how Gloria and Alejandro meet, fall in love, marry, and navigate the daily struggles of a Latino couple pursuing the elusive American Dream.
The elderly Alejandro, portrayed masterfully by Apollo Dukakis, is a stubborn man whose love for Gloria and their family blinds him to his own shortcomings — particularly his failings as a husband. He never missed an opportunity to deceive the woman who now refuses to transition to the afterlife until he reflects on his errors. Alejandro, in turn, still sees Gloria in her prime — as the beautiful Latina unafraid to confront him.
We suffer alongside Alejandro throughout the film because he knows, deep down, that he is riddled with flaws. But we also recognize his nobility. Like the best Japanese melodramas by Yasujirō Ozu, the role of the father or patriarch is crucial here. However, this film also highlights the matriarch — a cornerstone of Latin families, where the maternal figure is essential for a family to thrive. It is this family dynamic that becomes the greatest achievement of Alejandro and Gloria: they managed to live the American Dream. It is a relief to see a film portray a Latino family free of the harmful stereotypes so often perpetuated by foreign productions.
In fact, much like Tortilla Soup is the Latin adaptation of Ang Lee’s Eat Drink Man Woman, it wouldn’t be far-fetched to say that Gloria feels like a peculiar adaptation of an Asian film. However, director Hope Martinez has stated that the film is based on a real-life couple from El Paso, Texas. This lends the movie a universal and, most importantly, original quality. It is a story about regret — and, hopefully, about healing. It is about accepting mistakes, learning from them, and using them as lessons. Ultimately, the relationship between Alejandro and Gloria becomes a mirror, reflecting what should be avoided in marriage to make it truly perfect.
Dir. Hope Martinez
01:47:21 min
USA
Review by Andrés Ricardo Carvajal Castro
Film Critic
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