| Data: |
2023 |
| Descripció: |
12 pàg. |
| Resum: |
Daniel Mourenza compares the debut films of both Milagros Mumenthaler, Abrir puertas y ventanas/Back to Stay (2011), and Sol Berruezo Pichon-Rivière, Mamá, mamá, mamá (2020). He argues that these films follow a trend initiated by Lucrecia Martel's La ciénaga/The Swamp in 2001: a cinema confined to the family home that privileges the perception of young characters, predominantly girls, and that has the capacity to render the familiar strange. Mourenza proposes that the centrality of female adolescence and the focus on their perception unsettle a more rational, masculine and adult system of representation, revealing the unpredictable, the mysterious and the horror that lurks behind everyday life. Through the aesthetics of strangeness, both films represent girls who have to find their place in the world, while going through a process of mourning. |
| Nota: |
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| Drets: |
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| Llengua: |
Anglès |
| Document: |
Capítol de llibre ; recerca ; Versió acceptada per publicar |
| Publicat a: |
Contemporary Argentine Women Filmmakers, Núm. 1 (2023), p. 233 - 249, ISBN 978-3-031-32345-4 |
visitant ::
identificació
(Radboud Universiteit)
