Fernando Eimbcke's latest cinematic offering, 'Flies,' delivers a touching narrative that delves into the profound connection forged between a reclusive elderly woman and a young boy grappling with his mother's deteriorating health. This film, presented at the prestigious Berlin Film Festival, skillfully combines a somber mood with subtle comedic elements. It features powerful performances, particularly from its lead actress, and highlights Eimbcke's distinctive directorial flair and stylistic preferences, making it a memorable and emotionally resonant experience.

The film introduces Olga, a woman in her sixties living alone in a meticulously organized Mexico City apartment. Her living space subtly hints at a more vibrant past, yet she appears to have embraced a quiet, routine existence. Her main annoyance is the constant presence of flies, a detail humorously established in the film's opening moments without dialogue. Facing financial constraints, Olga reluctantly decides to rent out a spare room, a decision that inadvertently introduces a significant change into her predictable life.

This is where Cristian, a spirited young boy, and his subdued father, Hugo Ramírez, enter the scene. They are new to the city, seeking temporary lodging close to the hospital where Cristian’s mother is undergoing cancer treatment. Cristian, whose perspective largely guides the narrative, still believes hospitals are places solely for recovery. However, the increasing distress of his father and the hushed conversations with hospital staff begin to hint at a harsher reality, gradually eroding his childhood innocence. His escape from these burgeoning anxieties comes through an old arcade game, a simple diversion that fills his unsupervised hours.

Olga, known for her neatness and desire for solitude, initially resists the idea of renting to families. Cristian’s father, out of desperation, brings his son in covertly, pretending to be a single tenant. Olga quickly uncovers the deception, but when the father secures temporary employment, she unexpectedly finds herself caring for Cristian. This forces her to break down the barriers she has carefully built around herself. The film subtly reveals the reasons behind her reluctance for human connection through visual cues, rather than overt explanations. Everyday objects, like the jigsaw puzzles and board games in her spare cupboard or a rarely played salsa CD, become poignant symbols of her past and evolving present.

Cinematographer María Secco, employing the same stark monochrome palette as Eimbcke's earlier work 'Duck Season,' skillfully crafts visual contrasts. The gentle, filtered light within Olga's apartment creates a serene, almost sacred space, while the harsh, bright glare of the streets outside underscores the difference between her inner world and the bustling city. The sound design, handled by Javier Umpierrez, further emphasizes this contrast, with the city's constant din subdued by Olga's closed windows. The arcade game's familiar electronic sounds serve as a recurring motif, offering Cristian a sonic escape from his encroaching reality.

Bastian Escobar, a newcomer to the screen, portrays Cristian with an authentic mix of youthful energy and inquisitive nature. He effortlessly captures the oscillating moods of a child—from intense curiosity to sudden disengagement. Escobar's natural screen presence makes him an ideal counterpart to Teresita Sánchez, who delivers a nuanced performance as Olga. Sánchez masterfully conveys Olga's guarded exterior and the underlying traumas that have shaped her, as well as the nascent, involuntary tenderness that Cristian awakens within her. 'Flies' refrains from presenting these two individuals as a mere quirky duo for comedic effect. Instead, it patiently and compassionately illustrates their unexpected similarities, transcending age and life circumstances, and the brief yet profound comfort they find in each other's presence.