WEBVTT 1 00:00:04.280 --> 00:00:08.520 From Fudro Media and PRX. It's Latino Usa. I'm Maria 2 00:00:08.800 --> 00:00:12.800 Rosa today a dive into the rabbit hole that is 3 00:00:12.880 --> 00:00:16.640 the world of Pedro Albodoba's movies and what they tell 4 00:00:16.760 --> 00:00:23.520 us about las mouheres latinas. Here's a story to understand 5 00:00:23.640 --> 00:00:29.160 muhere's latinas better or if you are a Latina, something 6 00:00:29.280 --> 00:00:32.360 I think you're really going to relate to. We originally 7 00:00:32.400 --> 00:00:37.080 aired this episode in twenty seventeen, but it remains fresh today. 8 00:00:37.720 --> 00:00:41.160 Back then, I was in the studio with producers Vidnandatchavarri 9 00:00:41.600 --> 00:00:45.600 and Antonia Sejido, and we were deep into a conversation 10 00:00:46.080 --> 00:00:49.159 about the dramatic Latina stereotype. 11 00:00:49.840 --> 00:00:52.520 I cry very easily, and I think to a lot 12 00:00:52.520 --> 00:00:56.200 of people that's a sign of crazy, neurotic person or 13 00:00:56.280 --> 00:00:59.040 like emotionally unstable. I think it's the opposite. I think 14 00:00:59.080 --> 00:01:01.360 I am super in tune with what I feel. If 15 00:01:01.360 --> 00:01:04.200 I'm angry, I will cry with rage. If I'm happy, 16 00:01:04.280 --> 00:01:07.000 I will cry with happiness. If I'm sad, I will. 17 00:01:06.840 --> 00:01:10.319 Sob I Actually it's funny. My dad always tells the 18 00:01:10.319 --> 00:01:13.000 story because it's true. When I was little, i'd like 19 00:01:13.160 --> 00:01:15.920 start crying hysterically, and my parents would try to comfort me, 20 00:01:16.240 --> 00:01:19.479 and I would tell them no, I'll just cry this out. 21 00:01:23.720 --> 00:01:25.000 Can you relate to any of them? 22 00:01:25.160 --> 00:01:25.240 Oh? 23 00:01:25.319 --> 00:01:27.840 Can I relate to any of it? I'm right there 24 00:01:27.840 --> 00:01:31.839 with Fernanda in the sense that, oh better claro. Now. 25 00:01:32.440 --> 00:01:34.400 I don't like to cry in front of you guys, 26 00:01:34.400 --> 00:01:36.120 like in the office, but you've all seen me cry. 27 00:01:36.480 --> 00:01:37.480 I'm very dramatic. 28 00:01:37.560 --> 00:01:37.720 You know. 29 00:01:37.800 --> 00:01:40.080 I'll come in. You'll hear the stories. I'm either very 30 00:01:40.120 --> 00:01:41.320 happy or I'm very sad. 31 00:01:41.840 --> 00:01:43.360 You'll hear the story. 32 00:01:43.600 --> 00:01:46.040 We'll also hear the stump stump, stop with your high heels, 33 00:01:46.400 --> 00:01:47.520 open the doors song. 34 00:01:47.560 --> 00:01:54.240 This is on like good morning. So I want to 35 00:01:54.280 --> 00:01:58.160 know if you've been called over emotional, too sensitive, or 36 00:01:58.200 --> 00:02:01.400 too neurotic, a criticism in your life. 37 00:02:01.200 --> 00:02:01.880 All of the above. 38 00:02:02.320 --> 00:02:04.880 Yeah, oh yeah, okay, So I kind of want to 39 00:02:04.920 --> 00:02:07.200 turn this on its head for a sec. I mean, 40 00:02:07.760 --> 00:02:09.600 I think there's also something to be said about like 41 00:02:10.600 --> 00:02:12.360 owning the term notodigas. 42 00:02:12.600 --> 00:02:15.880 It's not like we're letting our emotions take over. What 43 00:02:16.120 --> 00:02:19.639 people don't know is that we're actually using those emotions 44 00:02:19.680 --> 00:02:22.840 to our advantage to get through whatever situation we are 45 00:02:22.840 --> 00:02:23.320 going through. 46 00:02:26.560 --> 00:02:30.280 There is definitely a stereotype of the fast talking Spanish 47 00:02:30.280 --> 00:02:34.200 speaking woman with a zest for life and intensity. And 48 00:02:34.320 --> 00:02:38.640 this week we're leaning in and embracing the stereotype of 49 00:02:38.680 --> 00:02:43.400 the neurotic Latina today on our show Women on the Verge, 50 00:02:43.800 --> 00:02:48.240 the story of Fernanda and Antonia's surprising journey to embrace 51 00:02:48.639 --> 00:02:51.200 the high strung side of themselves. 52 00:02:52.560 --> 00:02:55.360 So clearly, Fernanda and I have some things in common. 53 00:02:55.440 --> 00:02:58.080 We love a good cry, we're not afraid to suffer, 54 00:02:58.360 --> 00:03:01.280 and so of course we're here. Huge fans of movies 55 00:03:01.320 --> 00:03:05.600 by Spanish director Pedro and Moloa, in particular the appropriately 56 00:03:05.639 --> 00:03:10.760 titledos Or in English, Women on the Verge of a 57 00:03:10.800 --> 00:03:11.800 Nervous Breakdown. 58 00:03:12.320 --> 00:03:14.240 The movie came out in the late eighties and it's 59 00:03:14.280 --> 00:03:18.240 an absurd comedy filled with racy characters and raunchy dialogue. 60 00:03:18.600 --> 00:03:21.440 There's a scene that has become the iconic image of 61 00:03:21.480 --> 00:03:25.320 the neurotic woman, and in particular the Spanish speaking neurotic woman. 62 00:03:25.639 --> 00:03:28.720 It's when Pepa, the main character, lights her bed on 63 00:03:28.919 --> 00:03:31.720 fire by mistake because she's in such a haste after 64 00:03:31.760 --> 00:03:38.280 breaking up with her boyfriend, and after she manages to 65 00:03:38.360 --> 00:03:41.160 host down her bed, she starts packing all of her 66 00:03:41.160 --> 00:03:43.680 excess stuff in a suitcase, while the smoke from her 67 00:03:43.680 --> 00:03:45.560 bedroom fills the rest of the apartment. 68 00:03:53.960 --> 00:03:56.640 So we ourselves are often on the verge of a 69 00:03:56.680 --> 00:04:00.760 nervous breakdown, but we're not alone there. There's something called 70 00:04:00.800 --> 00:04:02.160 the Chicas and Moloa. 71 00:04:02.600 --> 00:04:05.280 Throughout his career, A Moldova has put women at the 72 00:04:05.280 --> 00:04:08.200 center of his films, hence Chicas and Molova, and one 73 00:04:08.240 --> 00:04:10.800 of the most recognizable names in the US is probably 74 00:04:10.840 --> 00:04:11.640 Penelope Cruz. 75 00:04:11.760 --> 00:04:14.960 It's hard to describe exactly what a Chica and moload is. 76 00:04:15.240 --> 00:04:18.280 Chikas and moload are a combination of witty and funny, 77 00:04:18.279 --> 00:04:20.320 with sex appeal and smarts. 78 00:04:19.800 --> 00:04:21.960 A touch of intents, no shame when it comes to 79 00:04:22.000 --> 00:04:24.880 expressing emotion, and at their core pretty neurotic. 80 00:04:25.080 --> 00:04:26.840 And we wanted to dive deeper. 81 00:04:26.560 --> 00:04:29.760 Into Almolova's universe of women. So when the Museum of 82 00:04:29.800 --> 00:04:32.320 Modern Art here in New York City announced it would have. 83 00:04:32.320 --> 00:04:35.640 A retrospective, immediately this idea popped into my head and 84 00:04:35.720 --> 00:04:39.120 I was like, I want to watch every single one 85 00:04:39.120 --> 00:04:41.800 of these And then I thought I would go insane. 86 00:04:42.520 --> 00:04:44.880 What should I do? I should invite a good friend 87 00:04:44.880 --> 00:04:46.560 of mine to also go insane. 88 00:04:46.600 --> 00:04:48.880 With me and someone who you knew was a little 89 00:04:48.880 --> 00:04:51.800 insane to be able to agree this this. 90 00:04:52.400 --> 00:04:56.240 And I was like, me and Fernanda, we're going to 91 00:04:56.320 --> 00:05:03.320 do this. We're going to watch every single on Moloa movie. 92 00:05:04.880 --> 00:05:07.920 You and I have set up this schedule, which once 93 00:05:07.960 --> 00:05:11.440 we put it on paper, it looks it looks crazy. 94 00:05:11.760 --> 00:05:15.000 It just looks like the who would put themselves through this, 95 00:05:15.440 --> 00:05:18.760 and not because the films aren't great. I'm excited, but 96 00:05:18.839 --> 00:05:21.880 I'm also a little like, what's that going to feel like? 97 00:05:27.480 --> 00:05:28.680 Okay, here's the plan. 98 00:05:28.839 --> 00:05:31.799 We watch every single movie and moloaa directed. 99 00:05:32.160 --> 00:05:36.039 That's twenty, yes, twenty two hour long movies. 100 00:05:36.440 --> 00:05:39.000 But before we tell you about our an moload Binge 101 00:05:39.040 --> 00:05:41.520 watching quest, we should mention that we don't have enough 102 00:05:41.560 --> 00:05:43.800 time in the show to talk about all of the movies. 103 00:05:43.960 --> 00:05:46.440 In full disclosure, we didn't go to film school and 104 00:05:46.480 --> 00:05:49.839 we're not going to be critiquing the cinematography, camera work, editing, 105 00:05:50.000 --> 00:05:50.480 you get it. 106 00:05:52.880 --> 00:05:56.520 But before we got started, we thought we'd ask around 107 00:05:56.520 --> 00:05:58.760 for some tips in. 108 00:05:58.800 --> 00:06:00.960 The advice as we do this. 109 00:06:02.680 --> 00:06:04.960 For handling, I mean, the. 110 00:06:04.839 --> 00:06:06.560 Main thing is that you are going to watch it. 111 00:06:07.080 --> 00:06:11.520 There are many not prejudices, but many cliches about myself 112 00:06:11.760 --> 00:06:15.960 and about my movies. So trying to forget everything you 113 00:06:16.040 --> 00:06:20.719 have read or read before about the movies and myself. 114 00:06:20.360 --> 00:06:24.440 And that ladies and gentlemen is beteran Molova himself. 115 00:06:24.080 --> 00:06:27.240 Fernanda and I actually got the opportunity to sit down 116 00:06:27.279 --> 00:06:29.000 and talk with him when he was here in New 117 00:06:29.080 --> 00:06:31.360 York for the premiere of his new movie Julietta. 118 00:06:31.440 --> 00:06:34.760 You are giving me and the movies the chance, and 119 00:06:34.839 --> 00:06:38.000 this is the more generous thing that you can do. 120 00:06:38.200 --> 00:06:40.280 When we told them Moloa about our plan to watch 121 00:06:40.320 --> 00:06:42.479 every single one of his films back to back, he 122 00:06:42.560 --> 00:06:45.640 told us he's actually never done that. We should also 123 00:06:45.640 --> 00:06:48.120 preface this by saying that we are pretty neurotic to 124 00:06:48.160 --> 00:06:53.599 be read on different levels. Yeah, Mexican went to Catholic school. 125 00:06:53.800 --> 00:06:55.400 That's a whole lot of story there. 126 00:06:55.480 --> 00:07:00.120 Argentine, long line of psychoanalysts and like too much self analysis. 127 00:07:00.880 --> 00:07:03.800 So we already are like at an operating at a 128 00:07:03.839 --> 00:07:05.919 high level of neuroses on the daily. 129 00:07:06.240 --> 00:07:17.040 Oy okay. 130 00:07:17.080 --> 00:07:19.080 So, Antonia and I sit across from each other at 131 00:07:19.080 --> 00:07:21.600 the Latino USA office. We hang out after work and 132 00:07:21.640 --> 00:07:24.040 we spend a lot of time together. So to be honest, 133 00:07:24.120 --> 00:07:26.800 we were feeling a little worried about how doing this 134 00:07:27.000 --> 00:07:34.840 might affect our relationship. What about friendship breakups with work? 135 00:07:34.880 --> 00:07:36.560 Have you ever had to break up with a friend 136 00:07:37.040 --> 00:07:39.200 or break up with a with a work friend. 137 00:07:39.280 --> 00:07:45.000 Essentially, friendship is a stronger relation than with lovers. So 138 00:07:45.080 --> 00:07:49.040 I think it's tougher you have to break with a friend, 139 00:07:49.120 --> 00:07:51.480 and at the same time that that makes more difficult 140 00:07:51.520 --> 00:07:53.840 to work with. I think it's tough about it anyway, 141 00:07:53.880 --> 00:07:56.320 I mean, at least I mean under my experience. 142 00:07:57.360 --> 00:07:59.120 What do you think I think it is. 143 00:07:59.200 --> 00:08:02.800 It's difficult because you you're with each other all day 144 00:08:03.000 --> 00:08:05.280 at work, and then we'll go get dinner or hang 145 00:08:05.320 --> 00:08:08.080 out afterwards, and you're with that same person again. So 146 00:08:08.120 --> 00:08:10.320 you have to really like that person to be with 147 00:08:10.400 --> 00:08:11.160 them for that long. 148 00:08:11.240 --> 00:08:14.120 And I think it's hard to create something beautiful with 149 00:08:14.160 --> 00:08:16.360 someone that you're proud of. And so when you lose 150 00:08:16.760 --> 00:08:20.120 the connection with someone where you created something you're proud of, 151 00:08:20.200 --> 00:08:21.640 I think that that always feels fad. 152 00:08:21.760 --> 00:08:25.480 Yeah, no, that what makes for me is that I 153 00:08:25.520 --> 00:08:29.440 will never forget that person if because also, of course 154 00:08:29.480 --> 00:08:32.640 I have problems with people that I worked with that 155 00:08:32.720 --> 00:08:35.520 they were friends on I mean, so. 156 00:08:35.400 --> 00:08:37.160 Hopefully we'll still be friends at the end of. 157 00:08:37.120 --> 00:08:42.800 The you can write and not all about friends and 158 00:08:42.840 --> 00:08:45.800 all that, So I mean taking advantage of how you feel. 159 00:08:52.040 --> 00:08:54.200 So as we sat out, we wanted to establish some 160 00:08:54.280 --> 00:08:54.920 ground rules. 161 00:08:55.200 --> 00:08:57.400 Whether we were watching the movies and the theater at 162 00:08:57.440 --> 00:09:00.520 moment or on my couch, we wanted to record ourselves 163 00:09:00.600 --> 00:09:02.720 talking about each movie right after it ended. 164 00:09:02.720 --> 00:09:04.920 Should we keep grand Ganga in the background? 165 00:09:06.760 --> 00:09:08.400 No, because it's gonna make editing more difficult. 166 00:09:09.559 --> 00:09:11.800 Okay, I have so many questions right now. 167 00:09:13.240 --> 00:09:19.360 First off, we just watched La Benindo The Labyrinth of Passions, 168 00:09:20.000 --> 00:09:23.079 and it turns out that it is quite a labyrinth 169 00:09:23.240 --> 00:09:24.840 of weird passions. 170 00:09:26.400 --> 00:09:29.040 Labyrinth of Passions is one of the first movies we watched, 171 00:09:29.160 --> 00:09:31.120 and it is also one of the first movies and 172 00:09:31.240 --> 00:09:32.480 Modova ever directed. 173 00:09:38.800 --> 00:09:41.760 The plot of the movie itself is kind of crazy, confusing, 174 00:09:41.920 --> 00:09:44.480 but one of the things that comes across clearly is 175 00:09:44.520 --> 00:09:48.360 the energy of La movida Madrilena, a counterculture art movement 176 00:09:48.440 --> 00:09:51.200 that emerged in the late seventies and into the eighties 177 00:09:51.200 --> 00:09:52.120 in Madrid. 178 00:09:53.920 --> 00:10:03.280 When I'm Moldovad started making movies. Francisco Franco, the Spanish 179 00:10:03.360 --> 00:10:06.880 dictator had just passed away and after being under such 180 00:10:06.880 --> 00:10:11.040 a strict authoritarian Catholic regime Spain, and in particular Melody 181 00:10:11.360 --> 00:10:14.480 was bubbling over with this new energy. And then Moloa, 182 00:10:14.720 --> 00:10:17.880 a young creative gay man, found himself in the midst 183 00:10:17.960 --> 00:10:20.760 of the mobida as they would later call it, Labyrinth 184 00:10:20.800 --> 00:10:24.719 of Passion shows this new underground culture. 185 00:10:29.679 --> 00:10:31.600 The song you're listening to is from a scene in 186 00:10:31.640 --> 00:10:34.360 the movie when on Molovad and his actual punk band 187 00:10:34.400 --> 00:10:37.480 and Molova and McNamara is playing a song called Suck 188 00:10:37.559 --> 00:10:40.080 It to Me. They're dressed in drag, playing for a 189 00:10:40.080 --> 00:10:43.120 crowd with huge eighties hair and off the shoulder shirts 190 00:10:43.200 --> 00:10:49.320 who were going crazy. So the first question that we 191 00:10:49.360 --> 00:10:50.920 want to answer in all of the movies that we 192 00:10:51.000 --> 00:10:55.560 watch is is there any character that you feel a 193 00:10:55.600 --> 00:10:56.319 connection to. 194 00:10:56.640 --> 00:10:59.160 Do you identify with anyone in the film? 195 00:11:00.200 --> 00:11:06.320 Absolutely? Not no one, No, not really interesting? What about you? 196 00:11:06.720 --> 00:11:12.400 I mean, clearly there's one very obvious character who who 197 00:11:13.200 --> 00:11:17.240 you don't know? No, Oh my god, the suspense is 198 00:11:17.320 --> 00:11:20.840 killing me. Who there's no one thinks you're so annoying, 199 00:11:21.480 --> 00:11:21.760 I know. 200 00:11:21.800 --> 00:11:22.120 Hold on. 201 00:11:22.480 --> 00:11:25.840 The second question was do we feel more neurotic or 202 00:11:25.920 --> 00:11:29.080 less neurotic after we watch this film, I have to 203 00:11:29.160 --> 00:11:35.400 say more, Yeah, me too, because I wanted them to 204 00:11:35.480 --> 00:11:39.000 freak out more at some of the revelations, and no 205 00:11:39.040 --> 00:11:39.920 one freaked out. 206 00:11:40.080 --> 00:11:42.200 But I feel like we think about Mala movies as 207 00:11:42.280 --> 00:11:44.320 like all the women go crazy, but in this movie, 208 00:11:44.320 --> 00:11:46.280 it's like these situation is crazy and the women are 209 00:11:46.320 --> 00:11:47.040 totally normal. 210 00:11:47.880 --> 00:11:48.160 Yes. 211 00:11:48.320 --> 00:11:51.280 Yes, which is why I feel neurotic right. 212 00:11:51.160 --> 00:11:53.360 Now, because you're like, why weren't they freaking out more? 213 00:11:53.440 --> 00:12:01.240 Because I'm freaking out for them. 214 00:12:00.120 --> 00:12:04.239 Oh, there will be more freakouts to come. 215 00:12:13.679 --> 00:12:17.800 Coming up on Latino USA. Will Fernanda and Antonia get 216 00:12:17.840 --> 00:12:22.080 through all of Almodova's movies and what's gonna happen to them? 217 00:12:22.480 --> 00:12:24.680 Will they start wearing sunglasses indoors? 218 00:12:25.480 --> 00:12:29.080 I mean we texted what yesterday and in the morning 219 00:12:29.120 --> 00:12:31.600 about something else, and then you were like, I'm feeling weird, 220 00:12:31.600 --> 00:12:32.199 and I was like me. 221 00:12:32.240 --> 00:12:34.160 Too, and then you joked and you were like, it's 222 00:12:34.160 --> 00:12:34.640 the movie. 223 00:12:35.559 --> 00:12:57.760 Stay with us, Welcome back to Latino USA. I'm Maria 224 00:12:57.880 --> 00:13:01.440 no Hossan. And when we left off, our producers Antonia 225 00:13:01.480 --> 00:13:04.640 Seejidro and Fernande Chavarri. We're in the midst of a 226 00:13:04.760 --> 00:13:09.400 kind of social experiment the question we're watching all of 227 00:13:09.440 --> 00:13:13.360 Bedroon Molowata's movies make them more or less neurotic. 228 00:13:13.960 --> 00:13:16.600 So we had just finished watching our fifth or sixth movie. 229 00:13:16.640 --> 00:13:19.160 It was getting really hard to keep track, and it 230 00:13:19.240 --> 00:13:22.400 was Moloaa's second oscar Win all about my mother, and 231 00:13:22.440 --> 00:13:24.920 the movie was, in the words of Fernanda. 232 00:13:24.880 --> 00:13:26.840 Big slap in the face of sad reality. 233 00:13:27.480 --> 00:13:29.920 We were riding the train back from moment and answering 234 00:13:29.960 --> 00:13:32.160 our standard questions, which. 235 00:13:32.000 --> 00:13:33.480 Character did you relate to? 236 00:13:33.760 --> 00:13:37.200 If you related to any Penelope Crus's character, I actually 237 00:13:37.520 --> 00:13:40.840 relate to a lot in the sense of like she 238 00:13:41.000 --> 00:13:44.840 has like a neediness that I really relate to, and 239 00:13:46.000 --> 00:13:46.320 that right. 240 00:13:47.679 --> 00:13:50.240 She also was like, oh, I'm going to tell you 241 00:13:50.240 --> 00:13:50.959 all of these things. 242 00:13:51.000 --> 00:13:52.480 Also, my friend asked me not to. 243 00:13:52.400 --> 00:13:54.760 Tell you about it, but I'm gonna tell you anyway. 244 00:13:54.840 --> 00:14:09.559 And I was like, Antonia, you cannot keep a secret. 245 00:14:10.760 --> 00:14:12.600 When was the last time you told me a secret? 246 00:14:13.400 --> 00:14:15.240 Will you tell me too many things about other people 247 00:14:16.480 --> 00:14:18.000 that I don't know that they would want you to 248 00:14:18.040 --> 00:14:18.400 tell me. 249 00:14:19.000 --> 00:14:21.080 That's not the same as you telling me a secret. 250 00:14:21.200 --> 00:14:22.680 You are correct, You are correct. 251 00:14:23.400 --> 00:14:26.160 Scratch that from the record, Madame Secretary. 252 00:14:28.840 --> 00:14:30.080 Back to all about my mother. 253 00:14:30.280 --> 00:14:32.400 When we spoke to one Moload at the beginning of 254 00:14:32.440 --> 00:14:34.800 our journey, he told us that it is in fact 255 00:14:34.880 --> 00:14:36.280 all about his mother. 256 00:14:36.600 --> 00:14:40.240 My mother. It was a big inspiration of the rest 257 00:14:40.440 --> 00:14:43.600 of the mothers that I wrote about in in my 258 00:14:43.720 --> 00:14:49.560 other movies, because I mean, maternity or motherhood is very 259 00:14:49.600 --> 00:14:52.960 present in my movies. But I have a strong memory 260 00:14:53.480 --> 00:14:58.040 of my mother behavior and the rest of neighbors. And 261 00:14:58.080 --> 00:14:59.960 when I was signed, I mean I was a key 262 00:15:00.520 --> 00:15:01.680 surrounded by women. 263 00:15:02.120 --> 00:15:05.200 And another much lighter film that takes on motherhood is 264 00:15:05.320 --> 00:15:05.960 High Heels. 265 00:15:08.120 --> 00:15:09.040 The movie is a. 266 00:15:08.960 --> 00:15:11.720 Total mix of camp and humor, shot in places like 267 00:15:11.760 --> 00:15:14.360 a drag bar and a women's prison, where there is 268 00:15:14.400 --> 00:15:16.040 an amazing dance sequence. 269 00:15:16.320 --> 00:15:17.960 But also it's a story of a. 270 00:15:18.000 --> 00:15:21.280 Very real and complicated relationship between a mother and a daughter. 271 00:15:22.280 --> 00:15:25.000 I think this one for me, and I mean, we've 272 00:15:25.000 --> 00:15:28.160 seen many relationships between mothers and daughters. Last night we 273 00:15:28.200 --> 00:15:32.000 watch vo this one is one of the more complicated ones, 274 00:15:34.080 --> 00:15:35.760 and it feels more real to me. 275 00:15:36.400 --> 00:15:40.040 In true Amla fashion, there is a bizarre scene where 276 00:15:40.080 --> 00:15:42.640 the daughter sleeps with a drag queen who is dressed 277 00:15:42.680 --> 00:15:53.680 like her mom. 278 00:15:54.160 --> 00:15:56.520 At this point, we're halfway through all the movies, and 279 00:15:56.640 --> 00:15:59.280 the more we watch, the more we start analyzing our 280 00:15:59.320 --> 00:16:00.280 own relationship. 281 00:16:00.720 --> 00:16:05.520 What about your relationship with your mom? 282 00:16:06.120 --> 00:16:15.120 I mean that it's impossible for me not to kind 283 00:16:15.120 --> 00:16:17.440 of pick apart on my relationship with my mom because 284 00:16:17.520 --> 00:16:21.560 so much of an Moloba's history with film has to 285 00:16:21.680 --> 00:16:24.760 do with moms. So many movies have relationships between daughters 286 00:16:24.800 --> 00:16:28.680 and their moms. And I haven't lived with my mom 287 00:16:28.760 --> 00:16:32.920 since I was fourteen years old. I'm thirty one, so 288 00:16:33.240 --> 00:16:36.280 most of my life I've lived away from my mom. 289 00:16:36.800 --> 00:16:38.960 She lives in another country. We see each other once 290 00:16:39.000 --> 00:16:41.360 a year, and for a very long time, we didn't 291 00:16:41.400 --> 00:16:46.000 really have a relationship that was healthy or good or 292 00:16:46.560 --> 00:16:49.920 even that you could call a relationship that was little communication. 293 00:16:50.120 --> 00:16:55.960 So it's a complicated relationship that becomes more and more 294 00:16:55.960 --> 00:16:58.880 apparent how complicated it is and how many years I 295 00:16:58.920 --> 00:17:02.440 went without it. When I watch his films where the 296 00:17:03.440 --> 00:17:07.199 mom and daughter are almost one, they're always so close, 297 00:17:07.560 --> 00:17:10.960 and whether that is close in a good way or 298 00:17:10.960 --> 00:17:12.840 close in a bad way because they fight all the time, 299 00:17:13.040 --> 00:17:19.000 they are physically close, they are emotionally close, and that 300 00:17:19.240 --> 00:17:22.040 watching that on screen over and over and over again 301 00:17:22.080 --> 00:17:26.160 with so many films made me realize how incredibly far 302 00:17:26.240 --> 00:17:32.960 I am from it. And thankfully my mom and I 303 00:17:33.040 --> 00:17:34.399 are in a good place, and we have been for 304 00:17:34.440 --> 00:17:39.320 a few years, and I'm happy to talk to her 305 00:17:39.600 --> 00:17:42.359 as much as I do now. So I'm glad that 306 00:17:42.359 --> 00:17:44.040 that's happening when my mom and I are in a 307 00:17:44.080 --> 00:17:46.000 good place, because otherwise this would have gotten a little 308 00:17:46.040 --> 00:17:46.760 dark for me, I think. 309 00:18:12.119 --> 00:18:13.480 So here we are. 310 00:18:15.440 --> 00:18:19.040 Back out of another movie. 311 00:18:19.600 --> 00:18:22.760 So we just watched The Flower of My Secret. 312 00:18:24.400 --> 00:18:27.680 La Flora came out in nineteen ninety five, and it's 313 00:18:27.720 --> 00:18:31.000 a true melodrama. If you compare it to other dramas, 314 00:18:31.000 --> 00:18:33.159 it might seem a little over the top, but in 315 00:18:33.200 --> 00:18:36.960 comparison to other Almodova movies, this one seems pretty tame. 316 00:18:37.320 --> 00:18:38.280 It's the story of. 317 00:18:38.240 --> 00:18:41.040 A woman named Leo and the end of her marriage. 318 00:18:41.359 --> 00:18:43.880 Leo is a writer who, under a pseudonym, puts out 319 00:18:43.960 --> 00:18:46.960 romance novels, and although this is one of our Modova's 320 00:18:47.000 --> 00:18:50.639 more straightforward films, it still has the over dramatic touch 321 00:18:50.880 --> 00:19:01.320 even in the simplest of scenes. The film opens with 322 00:19:01.440 --> 00:19:05.520 Leo at her typewriter. Every day I wear something of yours, 323 00:19:05.520 --> 00:19:08.640 she types. Today, I'm wearing the ankle boots you gave 324 00:19:08.680 --> 00:19:11.040 me two years ago. Remember how you had to help 325 00:19:11.040 --> 00:19:13.400 me take them off that night. I'm wearing them again 326 00:19:13.440 --> 00:19:18.159 today in your honor. But now they're too tight. Sometimes 327 00:19:18.200 --> 00:19:20.879 I think of you, like these boots that squeeze my 328 00:19:20.960 --> 00:19:22.639 heart so tight I can't breathe. 329 00:19:23.880 --> 00:19:26.160 So after Leo is unable to take the boots off, 330 00:19:26.200 --> 00:19:28.399 she leaves her house and she's a homeless guy asking 331 00:19:28.440 --> 00:19:30.600 for money on the street. She says that she'll pay 332 00:19:30.680 --> 00:19:32.120 him to help her take the boots off. 333 00:19:36.280 --> 00:19:38.119 So there she is sitting by a fountain at the 334 00:19:38.160 --> 00:19:40.640 park with the homeless guy pulling out her boots when 335 00:19:40.640 --> 00:19:43.159 it starts to rain, and of course he can't get 336 00:19:43.200 --> 00:19:43.800 the boots off. 337 00:19:44.080 --> 00:19:47.000 Leo leaves the park and then goes to her friend's office. 338 00:19:46.680 --> 00:19:49.679 And in the most serious way looks at her and 339 00:19:49.720 --> 00:19:52.080 with like a really deep voice and like panic in 340 00:19:52.119 --> 00:19:53.000 her voice, she's like. 341 00:19:53.280 --> 00:19:53.920 Em and you look at. 342 00:19:55.560 --> 00:19:56.600 Jos. 343 00:19:56.680 --> 00:19:58.160 I'm here because I need you to help me ruing 344 00:19:58.240 --> 00:20:00.399 with these booties from my feet, because I can't do 345 00:20:00.440 --> 00:20:03.760 it alone. And it's said in the most dramatic way, 346 00:20:04.000 --> 00:20:06.560 as if she was delivering some really important news, not. 347 00:20:10.880 --> 00:20:13.480 Yo. Throughout the movie. 348 00:20:13.520 --> 00:20:16.000 There are dark so comedic moments like this one, but 349 00:20:16.119 --> 00:20:19.000 really the Flower of My Secret is pretty sad. You 350 00:20:19.040 --> 00:20:21.359 can't help but feel for Leo when her husband tells 351 00:20:21.400 --> 00:20:22.720 her that he's leaving her. 352 00:20:22.640 --> 00:20:25.240 And Moload takes us through the motions of mourning the 353 00:20:25.320 --> 00:20:28.679 death of Leo's relationship, from the initial shock to the 354 00:20:28.720 --> 00:20:32.280 deep depression and confusion about just what went wrong. 355 00:20:32.520 --> 00:20:35.240 Like in many and Moload movies, Leo's mother is a 356 00:20:35.240 --> 00:20:38.639 central character. When Leo's at her lowest, her mother takes 357 00:20:38.640 --> 00:20:40.720 her to the small village where they're from so she 358 00:20:40.800 --> 00:20:41.520 can heal. 359 00:20:43.320 --> 00:20:45.560 Federal tier. 360 00:20:47.960 --> 00:20:50.760 In this scene, Leo's mother tells her that sometimes we 361 00:20:50.800 --> 00:20:53.400 can end up feeling like a cow without a cowbill, 362 00:20:53.800 --> 00:20:56.679 just wandering around without direction. So we have to go 363 00:20:56.840 --> 00:20:58.960 back to where we came from and spend time with 364 00:20:59.000 --> 00:21:01.680 the women around us, because if we don't, we get 365 00:21:01.720 --> 00:21:06.359 lost out there, like cows without cow bells. 366 00:21:08.800 --> 00:21:10.240 I think one of the things that we keep seeing 367 00:21:10.240 --> 00:21:13.040 time and time again. But I just like absolutely love 368 00:21:13.160 --> 00:21:15.800 and it definitely feels true as someone who just went 369 00:21:15.840 --> 00:21:19.159 through a breakup. The moments in which I'm like happiest 370 00:21:19.560 --> 00:21:22.080 and like feel most at ease is like when I'm 371 00:21:22.119 --> 00:21:26.720 with all of my girlfriends, just like the relief of 372 00:21:26.800 --> 00:21:32.760 like having humor and gossip and a community and understanding. 373 00:21:33.400 --> 00:21:36.480 And I think that there's something really really beautiful about 374 00:21:36.600 --> 00:21:39.439 how Moload understands the way in which women are like 375 00:21:39.520 --> 00:21:43.359 such an incredible they create these spaces of comfort that are. 376 00:21:43.240 --> 00:21:45.120 Like so so so important. 377 00:21:45.359 --> 00:21:48.359 Well, it's the super cheesy way of saying it takes 378 00:21:48.359 --> 00:21:50.359 a village, and he or she literally goes to the 379 00:21:50.440 --> 00:21:52.840 village and it takes like a group of women to 380 00:21:52.920 --> 00:21:57.280 sort of like hold her up and let her know 381 00:21:57.359 --> 00:21:59.440 that she's not alone going through this. And it felt 382 00:21:59.560 --> 00:22:02.880 very much also like that for me when I went 383 00:22:02.920 --> 00:22:05.720 through a sad time as I relied on my girlfriends 384 00:22:05.720 --> 00:22:08.480 to listen to me crying, but to also call me 385 00:22:08.520 --> 00:22:10.800 out on it and say you you got it, like 386 00:22:10.800 --> 00:22:12.600 like snap out of it at times, you know. 387 00:22:12.720 --> 00:22:26.560 So it was really nice. I can be your little 388 00:22:26.600 --> 00:22:28.640 old lady in the Spanish village. 389 00:22:29.920 --> 00:22:31.240 Oh my god, we can. 390 00:22:31.240 --> 00:22:33.000 Stay on the sub and knit together. 391 00:22:35.160 --> 00:22:37.760 This weekend was just like so hard. 392 00:22:38.080 --> 00:22:40.080 It was just like I think it's like the it's 393 00:22:40.119 --> 00:22:43.359 the first weekend I've had in New York after my breakup. 394 00:22:43.400 --> 00:22:45.320 It was just like work work, work, work, work. 395 00:22:45.160 --> 00:22:47.119 And then I was like home with my family and 396 00:22:47.160 --> 00:22:49.120 so they were always around and I wasn't. 397 00:22:48.880 --> 00:22:51.120 Like going to like bed alone. 398 00:22:51.440 --> 00:22:53.119 I'm like not used to like going out and then 399 00:22:53.160 --> 00:22:56.040 having no one to like tell like I'm going to 400 00:22:56.080 --> 00:22:56.680 sleep now. 401 00:22:56.800 --> 00:22:59.640