Abstract
Abstract La noche que mi madre mató a mi padre (París 2016) and Mi querida cofradía (Díaz 2018) offer comedic retorts to cultural and industrial expectations for women protagonists. The career aspirations of their female leads defy the concept of the traditional angel of the home without resorting to manslaughter, a common recourse of Pedro Almodóvar’s leading ladies. The films of Inés París and Marta Díaz demonstrate intimate revolt (Kristeva 2002), encompassing carnivalesque overturning (Bakhtin 1984), the spectacular visualization of specular fantasy, and laughter as resistance for their feminist project of revealing the patriarchal attitudes that obstruct women’s professional fulfillment.
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Schedule a callMore From: Journal of Gender and Sexuality Studies / Revista de Estudios de Género y Sexualidades
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