Overcoming past traumas on the way to find one's identity has been a theme that has preoccupied Latin American literature and cinema over the ages. Matias Rojas Valencia's "Raiz (Root)" takes a stab at refreshing the themes in a film that more often misses than hits.

The film follows Amalia, an unemployed Chilean, who heads back to her rural dwelling to attend the funeral of her mother's maid. The maid has left behind a young boy, Cristobal, who needs to find a new home. Amalia's initial attempts to situate him with a nearby family member fail and the only option left for her and orphaned Cristobal is to find his missing father. All the while, Amalia must deal with her stern and seemingly ruthless mother.

The search for the father is a journey that both Amalia and Cristobal must undergo. As the narrative develops, Amalia reveals that her father's death severed her relationship with her mother, as the latter was unable to soldier on effectively by herself. As a result, Amalia's mother resorted to an aggressive parenting style that has left the film's protagonist traumatized. Amalia's mother has exercised a similar parenting style with Cristobal, leaving both characters in search of some sort of emotional cleansing. The film takes them around the southern region of the country, where they not only develop a bond, but also interact with a number of locals that change their lives.

The film is more empty than the above description implies. The characters only interact with about two major characters, and even those encounters feel underdeveloped in some instances. Valencia spends excessive time on shots of Amalia and Cristobal driving. He certainly manages to showcase a number of gorgeous landscapes, but the pacing of the film often feels mundane and repetitive. The story seems to take off in its initial stages with the tension between Amalia and her mother slowly building, but once the characters actually embark on their journey, the film hits an extended lull that it ultimately fails to overcome.

That does not mean that Valencia fails to get convincing performances from his major characters. That could not be further from the case, in fact. Mercedes Mujica, in her first role ever, carries the movie with tremendous conviction. She remains a restrained presence, often holding back her emotions and emphasizing an inner turmoil. When she finally lets the pent-up pain loose, the effect is cathartic and unforgettable. Youngster Eugenio Morales creates a tremendous portrait of a timid boy that seems to be in shock at the events unfolding in his life. By the end of the film, the viewer feels that there has been a cleansing effect on the child, and that he will be able to move on from his past traumas.

Elsa Poblette's turn as Amalia's mother is the standout, however, as she manages to mix pain and repressed anger into a suspenseful package. She walks around with a crutch, expressing the emotional wound that she continues to carry around. Her aggressive nature transforms into a defensive coping device, a means to protect herself from more disappointments that life might have in store for her.

The performances make "Raiz" watchable, but the plodding and seemingly directionless pace can get tedious for the impatient viewer. The film's plot also feels a bit derivative, with little new to express. It is clear that Valencia has tremendous talent, but it was not fully explored in this film.