immagine gff 2022




Category: Edition 2022

Yarisa has spent the best part of her life in service to a wealthy family and is considered more like a sister or a surrogate mother by teenager Sara. Now they have moved to Las Terrenas in the Dominican Republic where Yarisa was born. Her own family, especially her neglected daughter Mallory, are virtually strangers to her. One night tragedy strikes and Yarisa is left unable to comprehend exactly what has happened in a tense, suspenseful drama reflecting the callous power of privileged elites and the terrible price of subservience. 

Original Title Carajita
Category Official Competition
Section Generator +16
Tipology Feature Film
Duration 86'
Production Year 2021
Nationality Argentina, Dominican Republic
Directed by Silvina Schnicer, Ulises Porra Guardiola
Screenplay Ulla Prida, Silvina Schnicer, Ulises Porra
Director of photography Ivan Gierasinchuk, Sergio Armstrong
Editor Delfina Castagnino
Production Design Mónica de Moya
Costume Design Natalia Aponte
Sound Nahuel Palenque, Franklin Hernández
Make up Katherine Feliz
Music Andrés Rodríguez
Main cast Cecile Van Welie, Magnolia Nuñez, Adelanny Padilla, Genesis Buret, Richard Douglas, Javier Hermida, Dimitri Rivera, Mario Cersosimo, Clara Luz Lozano, Yuberbi de la Rosa
Talent Manager Katyuska Licairac
Produced by Alexandra Guerrero, Ulla Prida
Production Wooden Boat Productions (Dominican Republic)

Silvina Schnicer and Ulises Porra 01 Photographer Juan NaharroSilvina Schnicer and Ulises Porra Guardiola

Silvina Schnicer (Argentina) and Ulises Porra Guardiola (Spain) are both scriptwriters and directors. Together they directed TIGRE (2017), which premiered at Toronto International Film Festival and participated at San Sebastian’s New Directors. CARAJITA is their second feature film and it premiered at San Sebastian’s New Directors.

Directors’ statement

“CARAJITA explores the power of the dominant classes over the dominated. As happens in many other places, in the daily discourse of the Dominican upper classes, the relationship established between the nannies and the children they take care of is narrated with a certain candor. The nannies are delegated the care and sometimes practically the entire upbringing of the infants in the house. The somewhat naïve belief that the relationships that are generated are of true trust and affection becomes opportune. However, we well know that what underlies is a social injustice, the domination of one class over the other. This domination is materialized in the exercise of impunity and is experienced as a natural order. In case of disagreements, the mechanisms that set this impunity in motion are automatic and ferocious. And, at least in the film, they are unanswerable.”

Wooden Boat Productions (Dominican Republic)

International distribution 
Festival contact
Bendita Film Sales (Canary Island)