settima

machismo

Παραγγελιά! [Parangelia! / Request for a Song] (Pavlos Tasios, 1980)

May

13

Top Gun Day

Παραγγελιά! (1980)

A man dances the Zeibekiko, with another close to him. DPs: Sakis Maniatis & Kostas Papagiannakis.

Testosterone! for Top Gun Day (USA)

 

The Ζεϊμπέκικο (Zeibekiko) is a Greek dance, improvised by one man, alone. It's a dance that shows the performer's manliness, both his pride and his sorrows. Out of respect for the dancer, the others sit down, watch, and relate to him.

 

When the police enters the establishment – and this is 1973, the colonels ruled the naton – and interrupt the dancer, his older brother steps in.

El lugar sin límites [The Place Without Limits] (Arturo Ripstein, 1978)

Aug

13

Gay Uncles Day

El lugar sin límites (1978)

Pancho (Gonzalo Vega) watches La Manuela (Roberto Cobo) dance flamenco for him. DP: Miguel Garzón.

Cabaretera, a sub-genre from the Epoca de Oro (the golden epoch of Mexican filmmaking, 1930s—1950s), combines film noir with melodrama and musical numbers. Often set in cabarets (brothels), these films talk about the plight of the prostitute who – not without their pride and dignity – are forced to being the breadwinner in a poverty-stricken community.

 

El lugar sin límites harks back to those days. We follow the plight of La Manuela, a transvestite* who together with daughter La Japonesita works as a fichera (a dancehall performer) in the brothel run by Madame La Japonesa, La Japonesita's mother.

 

The return of Pancho, a hyper-macho trucker, disrupts the family regime. The trucker's attraction to the #flamenco dancing fichera is at odds with his machismo. Him being outed as a maricón (a Mexican slur for homosexual) would be the end of his world.

 

El lugar remains a groundbreaking film, not only in how it handles taboos like #gender roles and trans- and homosexuality, but also because it highlights how (self) destructive #machismo is in Mexican society.

 

Sergio de la Mora's excellently researched EL LUGAR SIN LÍMITES: Ripstein in Review delves much deeper than this little writeup here. Do read it (spoilers ahead).

 

*Roberto Cobo's La Manuela is transsexual. The term “transvestite” is what's used in the film and typical for its time.