Abstract
Drawing from Walter Mignolo's decolonial theory and the concept of latsploitation, this article explores how Sarli and Bó’s films challenge Eurocentric standards and represent identities marked by colonial wounds. Thanks to this reading it is possible to highlight the political nature of Bó and Sarli’s productions, despite having been considered a commercial entertainment cinema. By analyzing the decolonial stance in the films of Isabel Sarli and Armando Bó, this article concludes the necessity of challenging and questioning the unequivocal binary between commercial and political cinema. This study seeks to contribute to a broader understanding of Sarli and Bó’s cinema, and its role in cultural resistance against coloniality.
Published Version
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call