Abstract
Almodóvar, responding to puritanical Spanish culture, argues that the pursuit of pleasure is natural, that anyone seeking pleasure according to their nature is not perverse. In Matador, as elsewhere, he develops this argument with remarkable playfulness. Much specialist literature on contemporary Spanish film in general and Almodóvar and Matador in particular is about post-Franco changes in the representation of sex and gender. The film subverts toreo to explore the phallic route to sexual equality, but its cultural radicalism is concerned with much more than gender and targets an orthodoxy much broader than Francoism.
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