A mulher no cinema brasileiro e a tentativa de afastamento da heteronormatividade

Resumen

The goal of this essay is to show that the three films Dona Flor
e seus dois maridos (1976), Luzia-homem (1984) and Romance
da empregada (1988), while they disrupt heteronormativity,
are still heavily freighted vehicles of sexual and gender
ideologies. In the first case, Florípedes is a widow who marries
for the second time. Sexually unsatisfied, she evokes the return
of her dead husband. She transgresses heteronormativity, since
society does not allow for polygamy, although she fulfills her
role as a woman. In Luzia-homem, the main character acts and
thinks as a man, but ends up foregoing this behavior and she
takes up her destiny as a woman. In Romance da empregada,
Fausta is submissive before any and all types of men, but she
keeps them out of her life and remains single. In these three
situations, the women attempt to mock the patriarchal code,
but the plot of each film is structured in such a way that, as far
as society is concerned, the women end up either repeating the
roles imposed on them by patriarchal ideology or being
marginalized. Such a situation reinforces a heterosexist,
patriarchal, and masculinist posture.