Narrative Transgressions: Identity and bereavement in Latin American Cinema

In this paper we present a comparative analysis of how the themes of identity and bereavement are portrayed in two acclaimed Latin American films, “Carmin Tropical” directed by Rigoberto Perezcano and “Una Mujer Fantastica” directed by Sebastian Lelio. These films offer poignant narratives that delve into the complexities of bereavement and the search for identity within the context of transgender lived experiences. In Una Mujer Fantástica, we analyse the interplay of identity and bereavement, as represented by Marina, a transgender woman confronted by grief and societal prejudice and discrimination. In Carmín Tropical, we also explore bereavement in the context of Mabel, a Muxe [1] who returns to her hometown to investigate the murder of her friend Daniela. Through a semiotic lens we explore the visual, auditory, and symbolic elements in both films. With such exploration we elucidate both Marina’s complex journey of self-determination to mourn her late partner, Orlando, and Mabel’s loss of her friend and the loss of her past identity. We also examine how societal and cultural contexts, in both Chile and Mexico, can shape interpretations of identity and grief, and how Marina’s and Mabel’s transgressions challenge heteronormative conventions and foster a powerful narrative of self-discovery, justice and human rights, acceptance and defiance. By conducting a comparative analysis of these films, this paper aims to provide the distinct yet complementary perspectives on the intersection of identity and bereavement, enriching our understanding of these complex and interconnected facets of the human experience within the context of transgender narratives.

[1] A "Muxe" is a term used in the Zapotec culture, in the Oaxaca region of Mexico. It refers to a person who is assigned male at birth but takes on a gender role and presentation that is typically associated with women. Muxes are considered a distinct gender category in Zapotec culture and are widely recognized and accepted within their local community (see Miano Barruso, 2002).