María Luisa Bemberg’s Señora de nadie (1982) was her second feature-length film, and perhaps for that reason it has not received the same attention as her later films. However, Señora is an important film for its representation of a woman strong enough to leave her husband and, eventually, to share a bed with a gay man. In this queering of the Argentine matrimonial couple, Bemberg explores the discourse the heterosexist patriarchy in Argentina, a country still governed by a masculinist military that is both sexist and homophobic. In this sense, Bemberg’s films anticipate films dealing both with feminist and queer issues after the return to constitutional democracy in Argentina in late 1983.
Mirá si nos viera la tía Lola. (M. L.Bemberg, Señora de nadie)
