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This article analyzes different approaches to gender categories presented by feminist and queer theories. While the former seek to explicitly label femininity and masculinity, the latter question the gender binary system. However, both theoretical bodies are confronted when working on violence: how to name the masculinity of a perpetrator without naturalizing the sexual order? What role can violence play in gender processes? The author uses the representation «Who wants to, can come» to exemplify the sensory means of gender constructions. Sight, sound and movement are resources employed to irritate the audience’s perception and, thus, their approach to the traditional dichotomy of gender systems.
This article discusses the different approaches to gender categories in feminist and queer theories. Whereas feminist theories seek to explicitly label femininity and masculinity, queer theories look to undermine the binary system of gender. When it comes to violen- ce, however, both bodies of theories run into difficulty. How can a perpetrator’s maleness be named without naturalizing the sexual order? What might the function of violence be in the processes of producing genders? The performance «Who wants to, can come» exemplifies a way of constructing gender through senses. Sight, sound and movement are used to irritate the audience’s perception of, and thus their approach to, the traditional dichotomy of gender systems.
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Our two most international actors, Penélope Cruz and Antonio Banderas, were carried away with Óscar Martínez in this story by Duprat and Cohn, a parody on the world of the current industry and mainly on its most visible face: the performers.
Jorge Coira’s film, one of the action movies of this 2022, was in charge of opening Malaga. This thriller based on real events tells us about Juan, who works for the secret services; in order to gain access to the villa of a couple involved in arms trafficking, he approaches Wendy, the Filipino maid who lives in the house and establishes a relationship with her that will become increasingly complex. In parallel, Juan performs other «unofficial» jobs to protect the interests of the country’s most powerful elites, who have now set their sights on Angel Gonzalez, a seemingly nondescript politician whose dirty laundry he must find or «invent». Luis Tosar led the cast of the story.
Vicente Villanueva presented one of the comedies that will hit theaters this 2022. In this case, this plot talks about how to get started in the world of swingers trying to get out as little damaged as possible. And that the exchange is made between friends… What is the result? Fernando Guallar, Eva Ugarte, Tamar Novas, María Castro, Miren Ibarguren among others star in the film.
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Imagina a la persona que más daño te ha hecho en esta vida; imagina que tienes a esta persona a tu merced; puedes darle un pase para que se reencarne, se redima o se olvide de todo eso. Pero imaginemos que esta persona es la que más daño te ha hecho. Encierra todo eso en una habitación y tendrás el Purgatorio.
En este sentido, la cuestión en La muerte y la doncella era, fundamentalmente, si la respuesta a esa situación era la venganza o la justicia. Pero, ¿qué pasaría si tuvieras delante a Hitler, o a la persona que arrestó a tu hijo, que te exilió o que mató a tu mejor amigo? Alguien que te arruinó la vida. Mi respuesta siempre fue que no buscaría castigar, sino poner a esa persona cara a cara con su víctima. Imagino casi una eternidad de confrontación para que esa persona entendiera lo que había hecho.
Por otro lado, hace tiempo se me había ocurrido la idea de una pareja de personajes en el más allá enfrentados. No dejaba de pensar en un más allá en el que dos personas se interrogan mutuamente, pero la persona interrogada no reconoce la identidad de la otra. Además, me pregunté por la vida posterior de Medea; ese personaje me interesaba mucho, la mujer que mata a sus hijos con tanta furia que acaba convirtiéndose en un mito en la memoria de la humanidad.
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