““Creature”Written by Beatriz Martín Gimeno, it was nominated in four categories. Next Goya (best director, best new actress, best supporting actress and best supporting actor) also received some exclamations from people who found it a no-brainer. The truth is that this is a movie that doesn’t just talk about sex, it opens up the melon of that “taboo body” that sexuality passes through. Are women’s bodies still available? Yes it looks like that.
The film, which can now be watched on film, has garnered various criticisms since its release. will be swept into Cannes The agreement and disagreement of many who can enter into discussions about the cinematographic quality of a work that, with its lights and shadows, represents a narrative exercise that can only be understood if we observe the context of feminist advances and demands experienced in recent years. And the “wonderful subject” it addresses is already being repeated in contemporary cinema and literature written by women without metaphors and band-aids.
Martín Gimeno opens the diary of a woman who reads to us. “Fierce attachments” But this raises other problems beyond what has been explained. Gornick. (more) of a woman whose body is wallpapered with veiled prohibitions around pleasure beyond eros: the silence regarding the presence of erogene, the naturalization and visibility of the female body It exists without the need to be a sexual object. It is no coincidence that this film quotes “Gornick” after the publication of novels such as. “Physical Education” by Rosario Villajos (Short Library Prize 2023), whose main thesis and central thesis revolve around the female body (the body of a teenager living in the mid-nineties and the terrible-nineties).
In the book, Villajos focuses on how the female body is designed accordingly. mythological enthusiasm to be invaded either literally or through observation, where she is reduced to a mere object of consumption.
“Creatura” portrays this theme sharply and painfully in three stages, from childhood to adulthood. Beatriz Martín Gimeno’s film peels back the skin of Mila (the film’s protagonist, representing her own identity), which is as necessary as it is uncomfortable. director and screenwriter) until the wound of guilt and shame felt by so many women around the world is healed desire and commitment have. This also gives meaning to the apparent contradiction that exists between self-knowledge and the cultural perception of a person as the owner of a body. banned and therefore strange.
Both Villajos’s novel and Martín Gimeno’s film are two windows of fresh air in which we can talk openly about things that have always been talked about quietly.