O resultado da grande chuvada a meio da semana foi uma belíssima constipação: entre muitos espirros e canecas de chá que F. me vem trazendo com paracetamol, tenho encontro marcado com o sofá...
E encontrei este filme, já a meio, mas deu para perceber a história: uma mãe possessiva e matriarca, duas filhas com baixa auto-estima, família oriunda do México, enfim, mais do mesmo. Mas há um mas: o aspecto que me pareceu inovador é as actrizes, num contexto muito bom, despirem a roupa (ficando apenas com lingerie de péssimo glamour, coisita que ninguém se deixaria filmar nestes trajes), permitindo-nos que a sua nudez, tal qual a nossa, nos banhe de realidade. É preciso muita coragem.
Tal como muitas pessoas que conheço, eu devia despir-me mais vezes. Porque as pessoas não são só corpo, são ideias, sentimentos, são vida. E essa vida também tem celulite, borbulhas, manchas, tem imperfeições. Passamos a vida a corrigi-las, procurando mostrar apenas a perfeição. Com isso, perturbamos o equilíbrio.
Diz-se que os homens quando vão para a cama com uma mulher não vêm a celulite…Normalmente, rio-me e penso: “Ai pois não, vêm a …aura!” Mas é capaz de não ser mentira…senão, imperava o celibato.
Eu precisava ter visto este filme em miúda (é difícil, pareceu-me que é de 2002, com América Ferrera, a de Ugly Betty, sim), mas ainda estou a tempo de me despir, sair da concha (é diferente de “soltar a franga”, ok?) e recomendá-lo a muita moça gira que anda preocupada com 50 g de pneuzinho atrás da orelha…
Eis a sinopse:
“The film is a coming-of-age story about a first generation Mexican-American girl named Ana living in East Los Angeles. Ana gives up a promising college career to help out with the family business, where she comes to respect and admire the hard work and dedication that comes out of teamwork.
But Ana is still at odds with her culture; she understands that tradition is important but realizes that to be true to herself, she must step out into the world on her own.
The film portrays a group rarely seen in media: nonstereotypical Latina women. Because of its beautiful portrayal of this segment of society, Real Women Have Curves won the Dramatic Audience Award at the 2002 Sundance Film Festival.
The film stars America Ferrera, an 18-year-old first generation Latina-American woman, like the character she plays.
Unlike the rest of the cast, Ferrera does not speak fluent Spanish, making the association between her and her character even closer.
Ana's mother, played by Lupe Ontiveros, has come from a long line of domestic service roles in her film career: "I'm very proud to represent those hands that labor in this country."
A founding member of the Los Angeles Latino Theatre company, Ontiveros has been a driving force in trying to eradicate the stereotypes of Latin Americans prevalent in this country.
The director, Patricia Cardoso, is a Fulbright Scholar from Colombia.
She has received acclamation for her film The Water Carrier. Critics everywhere applaud Real Women Have Curves for its honesty and bravery in revealing the intimate details of Latin culture and heritage.
"It's a coming-of-age story we've all seen bits of in other films -- but it's rarely been told with such affecting grace and cultural specificity," said Marjorie Baumgarten of the Austin Chronicle.
The movie isn't only entertaining; it delivers a very strong message as well.
"Ana has learned to accept herself. It is more than her mother can do," said Roger Ebert of the Chicago Sun-Times.
This film not only reveals the inner workings of Latino culture, it also presents the success a female sees when she has learned to accept herself and her body just the way are.
Ana's mother continually comments on Ana's plump figure, but Ana is able to overcome her insecurities and embrace herself. Her courage allows other women to do the same, hence the title Real Women Have Curves.
Ana has learned that she can be strong and successful just the way she is, thus becoming a role model for any young woman who feels insecure about her self-image.
A wonderful and imaginative film, Real Women Have Curves is a must-see for anyone who likes honest film making.”
E encontrei este filme, já a meio, mas deu para perceber a história: uma mãe possessiva e matriarca, duas filhas com baixa auto-estima, família oriunda do México, enfim, mais do mesmo. Mas há um mas: o aspecto que me pareceu inovador é as actrizes, num contexto muito bom, despirem a roupa (ficando apenas com lingerie de péssimo glamour, coisita que ninguém se deixaria filmar nestes trajes), permitindo-nos que a sua nudez, tal qual a nossa, nos banhe de realidade. É preciso muita coragem.
Tal como muitas pessoas que conheço, eu devia despir-me mais vezes. Porque as pessoas não são só corpo, são ideias, sentimentos, são vida. E essa vida também tem celulite, borbulhas, manchas, tem imperfeições. Passamos a vida a corrigi-las, procurando mostrar apenas a perfeição. Com isso, perturbamos o equilíbrio.
Diz-se que os homens quando vão para a cama com uma mulher não vêm a celulite…Normalmente, rio-me e penso: “Ai pois não, vêm a …aura!” Mas é capaz de não ser mentira…senão, imperava o celibato.
Eu precisava ter visto este filme em miúda (é difícil, pareceu-me que é de 2002, com América Ferrera, a de Ugly Betty, sim), mas ainda estou a tempo de me despir, sair da concha (é diferente de “soltar a franga”, ok?) e recomendá-lo a muita moça gira que anda preocupada com 50 g de pneuzinho atrás da orelha…
Eis a sinopse:
“The film is a coming-of-age story about a first generation Mexican-American girl named Ana living in East Los Angeles. Ana gives up a promising college career to help out with the family business, where she comes to respect and admire the hard work and dedication that comes out of teamwork.
But Ana is still at odds with her culture; she understands that tradition is important but realizes that to be true to herself, she must step out into the world on her own.
The film portrays a group rarely seen in media: nonstereotypical Latina women. Because of its beautiful portrayal of this segment of society, Real Women Have Curves won the Dramatic Audience Award at the 2002 Sundance Film Festival.
The film stars America Ferrera, an 18-year-old first generation Latina-American woman, like the character she plays.
Unlike the rest of the cast, Ferrera does not speak fluent Spanish, making the association between her and her character even closer.
Ana's mother, played by Lupe Ontiveros, has come from a long line of domestic service roles in her film career: "I'm very proud to represent those hands that labor in this country."
A founding member of the Los Angeles Latino Theatre company, Ontiveros has been a driving force in trying to eradicate the stereotypes of Latin Americans prevalent in this country.
The director, Patricia Cardoso, is a Fulbright Scholar from Colombia.
She has received acclamation for her film The Water Carrier. Critics everywhere applaud Real Women Have Curves for its honesty and bravery in revealing the intimate details of Latin culture and heritage.
"It's a coming-of-age story we've all seen bits of in other films -- but it's rarely been told with such affecting grace and cultural specificity," said Marjorie Baumgarten of the Austin Chronicle.
The movie isn't only entertaining; it delivers a very strong message as well.
"Ana has learned to accept herself. It is more than her mother can do," said Roger Ebert of the Chicago Sun-Times.
This film not only reveals the inner workings of Latino culture, it also presents the success a female sees when she has learned to accept herself and her body just the way are.
Ana's mother continually comments on Ana's plump figure, but Ana is able to overcome her insecurities and embrace herself. Her courage allows other women to do the same, hence the title Real Women Have Curves.
Ana has learned that she can be strong and successful just the way she is, thus becoming a role model for any young woman who feels insecure about her self-image.
A wonderful and imaginative film, Real Women Have Curves is a must-see for anyone who likes honest film making.”
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