One aspect that should never be underestimated is the profound love a mother holds for her child and the relentless efforts she undertakes to nurture and support him. Even when faced with significant challenges, a mother's determination surpasses that of a pride of lions. Barbara's son, Lucca, experiences brain swelling and cerebral palsy due to complications during birth. Their second son, Bruno, develops normally, but Lucca remains mute, immobile, and unable to eat, suffering from frequent epileptic seizures. Barbara and her husband, Andrés, who is paraplegic, find themselves in despair, hoping for a miracle. This miracle appears when Barbara discovers an unconventional treatment in India involving a device known as Cytotron. After considerable thought and encouragement from his physician, John Jaramillo, the family travels to India, where Dr. Kumar provides treatment for Lucca. Although the improvements are gradual, Lucca eventually transforms into an active, engaged, and hungry little boy. Barbara then uncovers a startling revelation: can such miracles truly occur? It seems they can, as "The World of Lucca" is inspired by Barbara Anderson's book "The Two Hemispheres of Lucca," which recounts her journey in seeking treatment for her son. Director Mariana Chenillo emphasizes from the outset that while the film is rooted in reality, certain artistic liberties have been taken, and names have been altered to safeguard the identities of both the innocent and, in some instances, the culpable.
Why the mention of guilt? This plot twist emerges in the third act and is likely to spark controversy, making the disclaimer particularly significant. Chenillo and co-writer Javier Peñalosa judiciously reserve this revelation for later in the narrative to preserve the emotional resonance of the preceding heartwarming moments. Nevertheless, the timeline feels authentic, suggesting that events may have unfolded in this manner. From the moment of Lucca's birth, complications arise when Barbara's amniotic fluid ruptures shortly after she and Andrés arrive at the hospital. During the delivery, Barbara loses consciousness and is unable to push. Upon regaining awareness, she is filled with anxiety over not being able to see her son, who has been placed in an incubator and induced into a coma due to brain swelling. Instead of a straightforward recounting, a narrated montage illustrates how Lucca's cognitive development has been hindered, while his brother Bruno thrives in this aspect. Although Bruno appears to have a deeper understanding of Lucca than anyone else, Barbara, Andrés, and Bruno, along with their attentive nanny Nayeri (Paloma Alvamar), strive to provide Lucca with as much love and care as possible. In one instance, he expresses to Nayeri that Lucca refuses to eat because he dislikes the food she offers, yet she remains oblivious. Lucca's tendency to close his mouth when the spoon approaches should have served as a significant warning sign.
Balancing a full-time job while caring for Lucca will result in reduced hours and tighter financial constraints, but Barbara is resolute in her commitment to her son. She has learned about Jaramillo and his remarkable treatments through her patients and is eager to explore this option, though Andrés and the medical professionals remain skeptical. Rather than succumbing to pessimism, Barbara focuses on the possibilities of success rather than the potential pitfalls. The journey ahead is fraught with challenges, yet Barbara feels a profound obligation to Lucca to pursue every avenue available. This steadfast dedication ultimately yields positive results as Lucca begins to show signs of growth. While this progress is rewarding, Barbara is compelled to question why such treatments are not accessible outside of India. Jaramillo indicates that there were intentions to introduce the treatment in the United States, but the initiative was ultimately abandoned. Kumar expresses hesitation due to bureaucratic and legal complications. The film unfolds in a manner reminiscent of a Hallmark production, characterized by a serene, domestic ambiance that some may easily dismiss as overly sentimental or manipulative. However, Chenillo courageously addresses the challenges associated with raising a disabled child, not to elicit sympathy but to foster understanding. This approach imbues the film with genuine emotion and depth, transcending typical healing tropes. The portrayal of treatment as a gradual process rather than an instantaneous miracle adds to its authenticity, firmly rooted in reality. Chenillo skillfully presents India in a more favorable light, moving beyond the conventional stereotypes often depicted. While the film occasionally adopts a travelogue style, this is not out of place, as the narrative remains central throughout. The storytelling flows seamlessly, avoiding the impression of disjointed narratives. Consequently, when Barbara's professional life begins to unravel, it is evident that her commitment to Lucca, her foremost priority, will remain steadfast. You can enjoy this film on Afdah.info.
