Jo Evans Icíar Bollaín’s ‘Carte de Tendre’
Mapping female subjectivity for the turn of the millennium
in Hispanic and Lusophone women filmmakers
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This chapter takes Bruno's theoretical metonym as a starting point for examining Icíar Bollain's deceptively transparent film narratives. Like the fictional 'Carte du Pays de Tendre', Bollaín's mises-en-scène map her characters' movement through contemporary Spain with narratives that give precedence to geographical and emotional journeys: Hola ¿estás sola? follows two young women's attempt to find work on the south coast and in Madrid; Flores de otro mundo explores female migration; and Te doy mis ojos, domestic abuse. The titles of these films play an integral part in this 'mapping', or rather, this remapping of women: each of them is associated with a gendered cliché that is subverted by Bollaín's co-scripted, open-ended narratives. It is the gift for social documentation, entertainment, collaborative transparency and the engaging of affect that suggests Madeleine de Scudéry's haptic map as a metonym for the way that Bollaín's first three films 're-map' turn-of-the-millennium female subjectivity.

Hispanic and Lusophone women filmmakers

Theory, practice and difference

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