One of the aspects I enjoy most about exploring Latin American cinema is discovering films from countries whose film industries remain largely underrepresented internationally. Panama is one of those cases. Although its cinematic output is relatively small, every now and then a film emerges that captures attention far beyond its borders. Dear Tropics (Querido Trópico), Ana Endara’s first narrative feature, is one of those rare films. Following its world premiere at the Toronto International Film Festival and screenings at major festivals including San Sebastián and Rome, it established itself as one of the most celebrated Panamanian productions of recent years. It was later selected as Panama’s official submission for the Academy Award for Best International Feature Film.
| Dear Tropics | Movie Details |
|---|---|
| Country | Panama |
| Year | 2024 |
| Genre | Drama |
| Runtime | 108 min |
| Director | Ana Endara |
| Main Actors | Paulina García, Jenny Navarrete, Juliette Roy |
Set in Panama City, the film follows Ana María, a pregnant Colombian immigrant living in a precarious situation who finds work as a caregiver for Mercedes, an affluent woman beginning to experience dementia. At first, the relationship between the two women seems purely professional, but as time passes, their lives gradually intertwine, revealing shared vulnerabilities despite the enormous differences in age, class, and background.
What immediately stands out about Dear Tropics is its quiet confidence. Ana Endara avoids melodrama at every turn, allowing emotions to emerge naturally through everyday interactions rather than dramatic confrontations. The film unfolds patiently, inviting viewers to observe rather than judge. It is this restraint that ultimately gives its emotional moments such remarkable strength.
At its heart, the film is a story about care. Not simply caregiving as a profession, but care as an act of mutual transformation. While Ana María is hired to look after Mercedes, their relationship gradually evolves into something much more reciprocal. Each woman provides the other with something that neither initially expected: companionship, understanding, and a renewed sense of purpose.
The performances are exceptional. Paulina García delivers another deeply nuanced portrayal, capturing both Mercedes’ dignity and the quiet fear that accompanies the gradual loss of memory. Jenny Navarrete matches her with remarkable subtlety, portraying Ana María with warmth, resilience, and emotional restraint. Their chemistry never feels forced, allowing the relationship to develop with complete authenticity.
Visually, Dear Tropics embraces the atmosphere of Panama rather than simply using it as a backdrop. The city’s tropical climate becomes almost another character, expressed through lush gardens, persistent humidity, heavy rainfall, and dense soundscapes filled with birds and insects. These natural elements create a vivid sensory experience while reinforcing the film’s central themes of vulnerability, growth, and renewal.
Another aspect I particularly appreciated is the film’s sensitivity when addressing dementia. Rather than reducing Mercedes to her illness, the screenplay presents her as a fully realised individual whose memories, personality, humour, and emotions continue to shape her identity even as memory begins to fade. At the same time, the film thoughtfully explores migration, social inequality, motherhood, and ageing without allowing any single issue to dominate the narrative.
Its international recognition feels entirely deserved. Beyond representing Panama in the Academy Awards race, Dear Tropics received multiple festival awards, including audience and performance prizes, confirming Ana Endara as one of the most promising new voices in contemporary Latin American cinema.
Dear Tropics is a gentle, compassionate, and emotionally resonant film that finds extraordinary humanity within ordinary moments. Through two unforgettable performances and Ana Endara’s assured direction, it reminds us that meaningful connections often emerge between people whose lives appear to have nothing in common. Quietly observed and deeply felt, it is one of the finest Latin American dramas of recent years.
