Abstract
The protagonist’s seemingly confused and alienated consciousness stays intertwined with the possibility for boredom in Lucía Puenzo’s XXY (2007). Such a possibility comes to life in the form of despondency, simultaneously disallowing that the protagonist’s confusion and alienation be completely obscure or unbroken. Despondency in the film is not just another word for melancholy in Freud’s terms. Freud’s classical discussions on melancholy suggest that melancholic states resemble those in which grief affects the subject. Grief decidedly marks the loss or absence of a palpable object or of a concrete individual. Overcoming grief consequently entails a gradual approach, or takes place “piece by piece, with an expenditure of time and energy.” The despondent state that the protagonist feels in Puenzo’s film echoes a state of being that acknowledges and knows the potential for a concrete loss—the protagonist’s intersex subjectivity.
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- 1.
In New Oxford American Dictionary, 3rd ed., s.v. “despondency” is defined as “a state of low spirits caused by loss of hope or courage.”
- 2.
See Sigmund Freud, “Duelo y melancolía.” Obras Completas, Tomo XIV, trans. José L. Etcheverry. (Buenos Aires: Amorrortu Editores, 1976), 242–243.
- 3.
As other critics who have studied this film do, I will use the feminine pronoun (“her”). The feminine pronoun is built into the film script as such.
- 4.
See Santiago Peidro, “Dos casos de intersexualidad en el cine argentino,” Sexualidad, salud y sociedad: Revista latinoamericana 14 (2013): 68.
- 5.
See Zoila Clark, “Our Monstrous Humananimality in Lucía Puenzo’s XXY and The Fish Child,” Inter-disciplinary Net. http://www.inter-disciplinary.net/at-the-interface/wp-content/uploads/2012/04/clarkewpaper.pdf. Last accessed 15 June 2016.
- 6.
Bryan Turner, The Body & Society (London: Sage, 2008), 2 45.
- 7.
Lars Svendsen, A Philosophy of Boredom, trans. John Irons (London: Reaktion Books, 2005), 34 and 32.
- 8.
Traci Roberts-Camps provides an insightful analysis of XXY through “the lens of isolation” in Latin American Women Filmmakers (Albuquerque: University of New Mexico Press, 2017), 35.
- 9.
Mauro Cabral, “No saber acerca de XXY,” Biopolítica de los estados de excepción (blog), 21 November 2014, http://biopoliticayestadosdeexcepcion.blogspot.com/2014/11/no-saber-acerca-de-xxy-mauro-cabral.html?view=mosaic. Last accessed 5 September 2016.
- 10.
See Fiona Handyside, Cinema at the Shore: The Beach in French Film (Bern: Peter Lang, 2013), 4.
- 11.
One only needs to remember some of the most representative films from the past century, even if these are not necessarily culturally situated in Latin America, such as Fellini’s 8½ (1962) or Buñuel’s Belle de jour (1966). In relatively contemporary Latin American terms, Paula Markovitch’s El premio, Claudia Llosa’s La teta asustada, or Pablo Trapero’s Nacido y criado (2006) could be associated with the landscape of pronounced or shifting moods that are particularly framed by the beach spaces.
- 12.
Handyside, Cinema at the Shore, 5.
- 13.
Puenzo’s XXY and Julia Solomonoff’s El último verano de la Boyita (2009) are frequently juxtaposed as the sole instances that tackle intersexuality in recent Latin American cinema. Situating both films in the general aesthetic framework of NAC , Peidro, for instance, also observes that “no ha sido la intersexualidad una temática abordada previamente a nivel local” (“intersexuality has not been tackled previously at the local level”) (70).
- 14.
See the filmmaker’s interview at https://www.youtube.com/watch?v=ZOHAvllNoSo. Last accessed 4 August 2016.
- 15.
Peidro, “Dos casos de intersexualidad,” 66–90.
- 16.
See Deborah Martin, “Growing Sideways in Argentine Cinema: Lucía Puenzo’s XXY and Julia Solomonoff’s El último verano de la Boyita ,” Journal of Romance Studies 13, no. 1 (2013): 38.
- 17.
See Handyside, Cinema at the Shore, 4.
- 18.
Henri Lefebvre , State, Space, World: Selected Essays, ed. Neil Brenner and Stuart Elden (Minneapolis: University of Minnesota Press, 2009), 188.
- 19.
See David Foster , Queer Issues in Contemporary Latin American Cinema (Austin: University of Texas Press, 2003), 162. This sex act furthermore has been part of repeated debates among scholars such as Gonzalo Aguilar, Other Worlds: New Argentine Film (New York: Palgrave Macmillan, 2008) and Jens Andermann, New Argentine Cinema (London: I.B. Tauris, 2012), to mention just a few.
- 20.
Peidro, “Dos casos de intersexualidad,” 74.
- 21.
Tom McDonough, “Introduction// [sic] An Aesthetics of Impoverishment,” in Boredom: Documents of Contemporary Art, ed. Tom McDonough (Cambridge: MIT Press, 2017), 20.
- 22.
See J. B. Jackson, “The Order of a Landscape: Reason and Religion in Newtonian America,” in The Interpretation of Ordinary Landscapes, ed. D. W. Meinig (New York: Oxford University Press, 1979), 153.
- 23.
This is particularly relevant to Argentina’s Gender Identity Law or Identidad de Género Ley 26, 743.
- 24.
See Gilles Deleuze and Félix Guattari , A Thousand Plateaus: Capitalism and Schizophrenia, trans. Brian Massumi (London: Continuum, 2004). Deleuze and Guattari state that “the power of film [operates] through the face of the star and the close-ups” (175). The choice of Darín for this secondary role undoubtedly urges that we recognize his potential impact (and the film’s symbolic “power”) on the popular consciousness, especially when recalling the relatively recently passed and already-mentioned law. Darín’s celebratory persona in Argentina is perhaps an aesthetic instance of symbolically relegitimizing the law in the popular consciousness.
- 25.
- 26.
See Elizabeth Goodstein , Experience Without Qualities: Boredom and Modernity (Stanford: Stanford University Press, 2005), 1.
- 27.
Lawrence Grossberg , “Postmodernity and Affect: All Dressed up with No Place to Go,” Communication 10 (1988): 285.
- 28.
See Martin, “Growing Sideways,” 38.
- 29.
See Peter Toohey’s Boredom: A Lively History (New Haven: Yale University Press, 2011), in which he distinguishes between “situational” and “existential” boredom (12). Toohey builds his argument by drawing from Martin Doehlemann, Boredom: The Interpretation of a Widespread Phenomenon (Frankfurt: Suhrkamp Verlag, 1991).
- 30.
More importantly, Suli fears the dispersal of the family’s secret beyond its interpersonal spaces. Her dialogue with Erica echoes her concern:
SULI: “Ramiro no habló con nadie, ¿no? (“Ramiro did not speak with anyone, right?)
ERICA: “No, no te preocupes. Es muy discreto.” (“No, do not worry. He is very discreet.”)
- 31.
Alison Blunt and Robyn Dowling, eds., Home (New York: Routledge, 2006), 256.
- 32.
Turner , The Body & Society, 245.
- 33.
See Carri’s interview at https://www.youtube.com/watch?v=YiLdRi-9brk. Last accessed 15 July 2016.
- 34.
Resulting particularly from neoliberal policies implemented by President Carlos Menem (1989–1999), gated communities sprawled rather swiftly around Buenos Aires (and other large cities in Argentina) beginning in the 1990s. Such a phenomenon further deepened class differences in the post-dictatorial context. In his classic work on social class, work, and residential clustering, Anthony Giddens unpacks the complexities that social class establishes with work and residential choices or options. In The Class Structure of the Advanced Societies (London: Hutchinson, 1973), Giddens explains that class differences frequently go beyond work-related settings and often spill into residential choices, which consequently results in homogenous residential areas based on economic and social status (216). Neoliberal processes, as Maristella Svampa has consistently argued, were further strongly marked in the Argentine context by the processes of the privatization of public enterprises; these often compromised the well-being of those social groups that were linked to public and industrial sectors across the nation. In La sociedad excluyente. La Argentina bajo el signo del neoliberalismo (Buenos Aires: Taurus, 2005), Svampa fleshes out the relatively recent notion of different types of gated communities across Argentina—particularly in Buenos Aires—as one of the most palpable neoliberal outcomes of “intraclass fracture.” According to Svampa , “la fractura intraclase aparece reflejada en los nuevos estilos residenciales, modelos de socialización y formas de sociabilidad emergentes” (“the intraclass fracture appears reflected in the new residential ways of living, socialization patterns, and forms of emerging sociability”) (147). Svampa suggests that such “fracture” becomes particularly palpable upon paying attention to “algunas de las consecuencias sociales y culturales que ha tenido la autosegregación de los sectores medio-altos y medio en ascenso, visible en la expansión de urbanización cerradas (countries y barrios privados)” (“some of the social and cultural consequences that self-segregation has caused among emerging middle and upper-middle sectors, visible within the expansion of closed urbanization (country clubs and gated neighborhoods)” (148, original emphasis). The notion of “self-segregation” that Svampa elucidates interpenetrates Géminis incessantly through not only the utter isolation of the family within their affluent household/countryside house/neighborhood, but also via their social gatherings and interactions at the micro-interpersonal level.
- 35.
Svampa , La brecha urbana. Countries y barrios privados en Argentina (Buenos Aires: Capital Intelectual, 2004), 15–36.
- 36.
Carri , “El arte tiene que provocar,” Clarín, 9 June 2005. Last accessed 26 June 2016.
- 37.
Betty Friedan, Feminine Mystique (New York: W. W. Norton & Company, 1963), 393.
- 38.
Michel de Certeau, The Practice of Everyday Life (Berkeley: University of California Press, 1984), xii.
- 39.
See Alejandra Josiowicz, “Scribbles from a Little Girl: Violence and the Politics of Girlhood in Albertina Carri’s Géminis and La rabia,” in Screening Minors in Latin American Cinema, eds. Carolina Rocha and Georgia Seminet (Lanham: Lexington Books, 2014), 35–50. Josiowicz offers an insightful discussion of Meme’s agentic transgressions.
- 40.
See Louis Althusser , “Ideology and Ideological State Apparatuses,” in Lenin and Philosophy and Other Essays (New York: Monthly Review Press, 1971).
- 41.
See Rob Shields, Places on the Margin: Alternative Geographies of Modernity (London: Routledge, 1991), 69.
- 42.
Horacio Bernades , “De cómo atreverse a decir su nombre. El incesto según Albertina Carri,” Página 12, June 9, 2005, http://albertinacarri.com/fotos/Geminis_Prensa_04.pdf. Last accessed 13 June 2016.
- 43.
Ibid., n.p.
- 44.
Goodstein , Experience Without Qualities, 6.
- 45.
Random House Webster’s Dictionary, 4th ed., s.v . “ennui.”
- 46.
McDonough, “Introduction,” 13.
- 47.
See Charles Baudelaire, “Spleen,” http://fleursdumal.org/poem/159. Last accessed 18 March 2016.
- 48.
See Henri Lefebvre, Introduction to Modernity: Twelve Preludes, September 1959–May 1961, trans. John Moore (London: Verso, 1995), 93.
- 49.
See Deleuze , Francis Bacon, 36.
- 50.
To this end, and in the context of modern (and not postmodern) cities, Goodstein recalls Walter Benjamin and his discussions on the essentials of boredom, captured in his classic reference to boredom as the “growing atrophy of experience.” Quoted in Goodstein , Experience Without Qualities, 27.
- 51.
Brian Massumi, Politics of Affect (Cambridge: Polity, 2015), 15.
- 52.
See Virginia Woolf , Walter Sickert: A Conversation (London: L. and Virginia Woolf at the Hogarth Press, 1934), 13–14.
- 53.
Josiowicz views the social relationship between Meme and Olga as another way of destabilizing the dominant social order in the household via Meme’s agentic self, for the “nonnormative sensitivity that pulls the incestuous ‘white girl’ and the housemaid together is precisely what excludes them from the hypocrisies of bourgeois social life” (2014: 39).
- 54.
See Tom Conley, “Afterward: A Politics of Fact and Figure,” in Francis Bacon: The Logic of Sensation, trans. Daniel Smith (Minneapolis: University of Minnesota Press, 2003), 134.
- 55.
Marco Abel , Violent Affect: Literature, Cinema, and Critique After Representation (Lincoln: University of Nebraska Press, 2007), 54.
- 56.
See Michel Foucault , History of Madness, ed. Jean Khalfa, trans. Jonathan Murphy and Jean Khalfa (London: Routledge, 2006), 234.
- 57.
See “Little Gidding,” http://www.columbia.edu/itc/history/winter/w3206/edit/tseliotlittlegidding.html. Last accessed 26 April 2016. According to The Christian History Institute, “like her contemporaries of 1373, she is Roman Catholic and believes that the last rites give special sanctifying grace and strengthen a sick person bodily and spiritually at death.” https://www.christianhistoryinstitute.org/incontext/article/julian/. Last accessed 12 June 2016.
- 58.
Gilles Deleuze, Francis Bacon: The Logic of Sensation, trans. Daniel W. Smith (Minneapolis: University of Minnesota Press, 2003), 93.
- 59.
Sigmund Freud , The Basic Writings of Sigmund Freud, trans. Dr. A. A. Brill (New York: The Modern Library, 1995), 775–789.
- 60.
See Eva-Lynn Jagoe and John Cant, “Vibraciones encarnadas en ‘La niña santa’ de Lucrecia Martel,” in El cine argentino de hoy: entre el arte y la política, eds. Viviana Rangil and María Claudia André (Buenos Aires: Editorial Biblos, 2007), 172. These authors address Martel’s take on non-linear cinematic narratives.
- 61.
Toohey, Boredom, 17.
- 62.
See Pedro Lange-Churión, “The Salta Trilogy: The Civilized Barbarism in Lucrecia Martel’s Films,” in Contemporary Theatre Review 22, no. 4 (2012): 467–484; Deborah Martin , The Cinema of Lucrecia Martel (Manchester: Manchester University Press, 2016); Gonzalo Aguilar, New Argentine Film (New York: Palgrave Macmillan, 2008), 84, 89; and Paul Schroeder Rodríguez, Latin American Cinema: A Comparative History (Oakland: University of California Press, 2015), 272, 275–276.
- 63.
See Raquel Tellosa Cau, “La niña santa,” Guaraguao 9, no. 21 (2005): 273.
- 64.
Fredric Jameson , Postmodernism, or, the Cultural Logic of Late Capitalism (Durham: Duke University Press, 1991), 71.
- 65.
Helena explains the reasons for not pursuing an acting career to the doctor: “The hotel was always a bit remote. It was not easy. There were no drama classes.”
- 66.
See Jennifer Barker , The Tactile Eye: Touch and the Cinematic Experience (Berkeley: University of California Press, 2009), 2.
- 67.
It has been thus far most directly tackled in the analyses of Aguilar, New Argentine Film (New York: Palgrave Macmillan, 2008) and Deborah Martin, “Wholly Ambivalent Demon-girl: Horror, the Uncanny, and the Representation of Feminine Adolescence in Lucrecia Martel’s La niña santa.” Journal of Iberian and Latin American Studies 17, no. 1 (2011): 59–76.
- 68.
See Giuliana Bruno, Atlas of Emotion: Journeys in Art, Architecture, and Film (London: Verso, 2007), 64–66.
- 69.
Ana Forcinito, “Mirada cinematográfica y género sexual: Mímica, erotismo y ambigüedad en Lucrecia Martel ,” Chasqui 35, no. 2 (2006): 109–130.
- 70.
Martin , “Wholly Ambivalent,” 59–76.
- 71.
Aguilar, New Argentine Film, 92.
- 72.
Quoted in Massumi , Politics of Affect, 56.
- 73.
Commenting on Claudia Benthien’s literary discussions in Skin: On the Cultural Border Between Self and the World (New York: Columbia University Press, 2004), Elsaesser and Hagener underscore the ways in which skin “justifies cinema’s ongoing relation and proximity to the body” (111). In these scholars’ view, skin “negotiates and re-distributes the relation between inside and outside; it designates a transitional and uncertain liminality with respect to where the self becomes the world and vice versa” (111). Touching skin supersedes a simple intersubjective contact between bodies; it facilitates contacts laden with agency and transgression but also with confusion and possibility. See Thomas Elsaesser and Malte Hagener, Film Theory: An Introduction through the Senses (New York: Routledge, 2010).
- 74.
Josefina conducts secret sex-meetings with her boyfriend throughout the film. During the first meeting, she is featured with an utterly transgressive approach to losing her virginity: while she rejects her boyfriend’s whispered (and to the spectator unknown) suggestions, she ultimately orchestrates an anal sex position by controlling nearly every move he makes. Martel privileges Josefina and her preferences by zooming in on the boyfriend’s face or body only partially. He largely remains positioned behind Josefina’s fully privileged yet clothed body.
- 75.
Lucía’s friend inadvertently derails Lucía’s projected familial image; Alex and Álvaro’s relationship begins with mutual eroticism, but it is short-lived due to Alex’s friend’s betrayal; additionally, Josefina redirects a number of libidinous possibilities between Helena and Jano. Seemingly non-central, these characters in the end cause each film’s argument to culminate unexpectedly or abruptly.
- 76.
- 77.
See Serge Daney, Cine, arte del presente (Buenos Aires: Santiago Arcos, 2004).
- 78.
See Martel’s interview at https://www.youtube.com/watch?v=-lBhcXHwd08. Last accessed 14 June 2016.
- 79.
See Tellosa Cau, “La niña santa,” 274.
- 80.
Much has been written on the failed neoliberal systems in Latin America. See Luigi Manzetti, Neoliberalism , Accountability, and Reform Failures in Emerging Markets (Philadelphia: Penn State University Press, 2009), 3–6. In the Argentine context, for instance, Néstor Kirchner returned several key industries, which had been privatized in the 1990s, to government ownership by 2008.
- 81.
See McDonough, “Introduction,” 21.
- 82.
Their dialogue is worthy of careful attention:
HELENA: Tengo el pelo reseco.
MIRTA: Te dije que el champú del hotel no es para el uso permanente.
HELENA: Es de lo peor.
MIRTA: Eh, lo que se consigue con el presupuesto que tenemos.
(HELENA: My hair is overly dry.
MIRTA: I told you that the hotel shampoo is not to be used permanently.
HELENA: It is the worst.
MIRTA: Hmm, it’s what we get with our budget.)
- 83.
Throughout the film an indigenous, mute, and nameless worker sprays the hotel rooms unannounced. Her presence, sometimes appearing during Helena and Freddy’s intimate conversations, reinforces the blurred boundaries between the personal and public spheres in the hotel.
- 84.
See Walter Benjamin , Das Passagen-Werk, 2 vols., ed. Rolf Tiedemann (Frankfurt: Suhrkamp, 1982), 962.
- 85.
Jameson , Postmodernism, 303.
- 86.
Martin, “Wholly Ambivalent,” 64.
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Selimović, I. (2018). Bold Boredoms, Libidinous Affects. In: Affective Moments in the Films of Martel, Carri, and Puenzo. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-49642-3_4
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