《火药之心》以失踪悬案为引，却无意于类型化的解谜快感。影片对暴力创伤的处理不依赖煽情反转，而是通过叙事留白让观众自行拼合角色间的权力关系。导演Camila Urrutia特别会拍那种“什么都没发生，却什么都发生了”的压抑氛围——镜头老怼着人物的半张脸，光线暗暗的，连呼吸声都听得见。和同类拉丁美洲家庭题材相比，这部片子放弃了戏剧化的对峙与哭诉，转而捕捉指尖的颤抖、饭桌上的寂静、母亲给女儿梳头时忽然停顿的几秒钟。Andrea Henry的角色更像一团火，可她发怒的时候反而压低了声音，那种压抑感特别真实。导演Camila Urrutia几乎不用配乐，全靠街头环境音和演员克制的呼吸撑起氛围，你会感觉镜头就贴在角色后颈，跟着她们穿过危地马拉灰扑扑的巷子。

Claudia and Maria, roam the streets of the city of Guatemala. Claudia works at a call center and is uninterested in the world around her. She lives with her activist grandfather, who tries to persuade her to join his cause. Maria unlike Claudia, is more spontaneous and lives with her mother in the outskirts of the city. The chaotic streets are filled with common stories of abuse, unforgiving police officers, and charming secret corners. Everything changes one night when they are attacked by three men. Although they manage to escape, Claudia is faced with the dilemma of choosing revenge or listening to her grandfather’s advice.

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