Corina is superbly played by Mexican actress Naian González Norvind (1992).   Born into an acting dynasty, Naian is the daughter of actress Nailia Norvind, granddaughter of actress Eva Norvind, from whom she has Finnish and Russian heritage, as well as the sister of actress Tessa Ía, and half- sister to actress Camila Sodi. 

         Naian González Norvind as Corina & Cristo Fernández as Carlos

A writer, producer and violinist in her own right, she has already shone in a number of movies and TV dramas. This includes playing Chrissi Watkins in CBS ‘Blue Bloods’, and shining in the superb dystopian 2020 Mexican feature of Michel Franco, ‘New Order’. (https://www.latinolife.co.uk/articles/nuevo-orden-2020-dir-michel-franco)

In this new production, Norvind, cuts an astonishingly youthful figure, being totally believable as the fear-ridden Corina, who has had to develop techniques and routines to enable her to emerge from her home where she spends her time writing and reading from the vast library, that her now deceased father left behind.

Once outside, she meticulously counts her steps and unfailingly must keep to the routine of having her coffee flask replenished at the local grocery store before turning the corner into the publishing company where she works. Her lowly job is that of proof -reader of pulp cowboy erotica, where her awkward manner attracts taunts from her colleagues, when they are not ignoring her altogether that is.  She is tolerated by the bosses at the publishers, largely because her father had been an accomplished writer, and her job was given to her only out of respect for him. Considered to be at the very lowest rank, she is not challenged at all and her bosses are not aware of her keen interest in writing.

 Her mother, Renée (convincingly played by Carolina Poloti), suffers of the same condition. Even worse, in that she cannot bring herself to even emerge from their home at all, living her life through her daughter and the manuscripts that she brings home to correct. Having been led to believe that her daughter is working as a writer.

‘Corina’ (2024) is an interesting feature debut for director Úrzula Barba Hopfner, (1982) who has a string of accomplished shorts to her name.  ‘Corina’ (2024) has been very well received in the festival circuit and already garnered 4 wins and 5 nominations, including Best Film, Best Director, Best Ópera Prima and Best Original Screenplay. Hopfner started out gaining a name for her skill in editing in which she worked for a number of years, as well as taking part in dramaturgy seminars with Keith Cunningham and Thomas Schlesinger. 

                                    Urzula Barba Hopfner- director

There is a simplicity to the narrative in ‘Corina’ but the charm of the characters is endearing and carries the production. However, I feel that Barba Hopfner resorted to too much Voice Over as if she was not confident that her images and the performances would convey the story line. I feel this was a mistake and, even now, would relish it all being removed. The picture, with its quirky nature, stands on its own two feet and has no need for a voice over to tell the audience what to think in case they don’t get it.  We can see & feel it through the action.  

The originality of the approach to the narrative is mixed with a gentle humour that conveys a mystical feel, like a parable or an allegory.  This is the aspect that I think the director should explore further in her future work, and which we look forward to seeing.   González Norvind is excellent in the role. We empathise and suffer with Corina, especially when she realizes that she must act to solve a complex situation that she has created, leaving her comfort zone to face an unknown world, leaving behind the 200 square metre zone cage, that she had created.

                                         Cristo  Fernández as Carlos 

 All the characters are nicely drawn, Fernanda (Ariana Candela Michel) the grocery store boss and her cousin Carlos (Cristo Fernández). Lilli her boss at the company (Laura de Ta) and the subject of her ‘mistake’ Regina (Mariana Giménez) as they complement each other. The mise- en- scène is nicely crafted and the sets are spot on to the last detail.

An excellent debut, and we can only hope Barba Hopfner will work further developing her talents for serious ideas combined with humour.

‘CORINA’ (2024) directed by Úrzula Barba Hopfner

Writers: Úrzula Barba Hopfner and Samuel Sosa /  DOP: Gerardo Guerra / Editor: José Villalobos Romero / Sound Designer: César González Cortés / Original Music: Guy Reyes, Andrés Sánchez Maier

 Cast: Corina: Naian Gonzáٔlez Norvind / Carlos: Cristo Fernández / Lilli: Laura de Ta / RenéeL Carolina Politi / Regina: Mariana Giménez / Fernanda: Ariana Candela Michel / Sandrita: Elena Gore