Mari and Yolanda`s queering of their experience directly correlates to their disidentification with both the queer and immigrant subcultures. When preforming his own film analysis Munoz defines disidentification as “a remaking and rewriting of the dominant script” (Disidentifications, 23). This is because both subcultures do not allow them to exist in the way that they desire so they must reorient themselves. This is one way that they cope with living in an environment where their queer relationship is not welcome. Another way that they cope with is through the creation of a utopia. Munoz points out that “disidentificatory performances and readings require an active kernel of utopian possibility” (Disidentifications, 25). Although the audience
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Yolanda and Mari`s utopia is created early in the film when they first go to the abandoned garage (0:19:30). Mari formally creates this space by marking the phrase “Mosquita y Mari, fuck the rest” on one of the abandoned cars. This physical space then becomes a sort of queer utopia because the couples queering of each other`s lives can take place freely in it. Furthermore, one of the conversations that frequently takes place in the space is the talk about what hopes and dreams they have for the future. These two ideas are consistent with the way that Munoz discusses utopia in his piece “Cruising Utopia”. More importantly, these moments of ecstasy shown in the garage is related to the idea that the creation of queer utopias relies on the ability to make every day routine into a divine experience. When referencing a poem, he uses as framework for this concept, he says “Moments of queen relational bliss, what the poet names as ecstasies are viewed as having the ability to rewrite a larger map of everyday life” (25). Additionally, the scenes that take place in the abandoned garage take on a temporal feeling from the audience’s perspective. The way the …show more content…
This is especially true about Yolanda and Mari`s space gets turned into a space for public sex when Mari is driven to sex work and Yolanda finds her (1:11:50-1:12:45). As audience member, this was a shock because Mari seemed the least interested in men during the film, but it accurately portrays the fact that queer desires often take the backseat when they are forced to use sex for money. Additionally, it shows that queer people are often forced to participate in illegal, and most of the time dangerous, activities to survive. The state that has forced them into this then persecutes them for these crimes of necessity. This quarrel sets the precedent for the end of the film. The ending of the film finds both a distraught Yolanda and Mari walking down the street on opposite sides, they`re eyes meet and they stare at each other for a minute and then smile at each other. After this, the movie goes back to the scene of Mari writing “Mosquita y Mari, fuck the rest” in the dust of an old car (1:19:55-1:21:08). The film does not make it clear whether this is the true ending to the film of is just there to imply that Yolanda and Mari end up together again. If one takes the ending before that scene and analyzes it then the meaning of the film might be different. One could take them being on the opposite sides of the street, but still smiling at each other as a metaphorical stance for their position in life.
Yolanda and Mari`s utopia is created early in the film when they first go to the abandoned garage (0:19:30). Mari formally creates this space by marking the phrase “Mosquita y Mari, fuck the rest” on one of the abandoned cars. This physical space then becomes a sort of queer utopia because the couples queering of each other`s lives can take place freely in it. Furthermore, one of the conversations that frequently takes place in the space is the talk about what hopes and dreams they have for the future. These two ideas are consistent with the way that Munoz discusses utopia in his piece “Cruising Utopia”. More importantly, these moments of ecstasy shown in the garage is related to the idea that the creation of queer utopias relies on the ability to make every day routine into a divine experience. When referencing a poem, he uses as framework for this concept, he says “Moments of queen relational bliss, what the poet names as ecstasies are viewed as having the ability to rewrite a larger map of everyday life” (25). Additionally, the scenes that take place in the abandoned garage take on a temporal feeling from the audience’s perspective. The way the …show more content…
This is especially true about Yolanda and Mari`s space gets turned into a space for public sex when Mari is driven to sex work and Yolanda finds her (1:11:50-1:12:45). As audience member, this was a shock because Mari seemed the least interested in men during the film, but it accurately portrays the fact that queer desires often take the backseat when they are forced to use sex for money. Additionally, it shows that queer people are often forced to participate in illegal, and most of the time dangerous, activities to survive. The state that has forced them into this then persecutes them for these crimes of necessity. This quarrel sets the precedent for the end of the film. The ending of the film finds both a distraught Yolanda and Mari walking down the street on opposite sides, they`re eyes meet and they stare at each other for a minute and then smile at each other. After this, the movie goes back to the scene of Mari writing “Mosquita y Mari, fuck the rest” in the dust of an old car (1:19:55-1:21:08). The film does not make it clear whether this is the true ending to the film of is just there to imply that Yolanda and Mari end up together again. If one takes the ending before that scene and analyzes it then the meaning of the film might be different. One could take them being on the opposite sides of the street, but still smiling at each other as a metaphorical stance for their position in life.