At Boiling Point: Like Water for Chocolate and the Boundaries of Mexican Identity

Abstract

This article explores the mechanisms of Mexican identity as they are constructed in Alfonso Arau’s film Como agua para chocolate (1991) (Like Water for Chocolate). In re-designing the characters of Laura Esquivel’s novel, Arau produces a range of filmic stereotypes drawn from both the Hollywood and the Mexican traditions of film-making. Through the careful manipulation of filmic devices such as editing, framing and close-ups, many of the features of Mexican otherness perpetuated by Hollywood throughout the twentieth century are inscribed. I apply the metaphor of boiling, derived from the film’s title, to examine certain key concepts of cinematic ‘mexicanness’ including the tropes of ‘revolution’, ‘border’, ‘race’ and ‘sex’. Crucial to this argument is a consideration of the contemporary political climate in which Like Water for Chocolate was both produced and released. In Mexico, it was released halfway through the sexenio (six-year period of rule) of President Carlos Salinas de Gortari’s rule and is clearly one of the most succesful cultural products (and exports) of his government’s now infamous rule. In the United States, the climate of anti-immigrant attitudes in 1992 and 1993 and the corresponding political tension provokes new readings of certain stereotypical images of Mexicans and mexicanness. It is the tension that is produced by the collision between these two contexts — cultural, political and ethnic — that forms the principal focus of discussion in this article.