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The Cinema of Alex de la Iglesia$
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Peter Buse, Nuria Triana-Toribio, and Andrew Willis

Print publication date: 2007

Print ISBN-13: 9780719071362

Published to Manchester Scholarship Online: July 2012

DOI: 10.7228/manchester/9780719071362.001.0001

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Perdita Durango (1997): the body, sex and Mexico

Perdita Durango (1997): the body, sex and Mexico

Chapter:
(p.77) 3 Perdita Durango (1997): the body, sex and Mexico
Source:
The Cinema of Alex de la Iglesia
Author(s):

Peter Buse

Núria Triana Toribio

Andy Willis

Publisher:
Manchester University Press
DOI:10.7228/manchester/9780719071362.003.0019

Perdita Durango, by Álex de la Iglesia, was an international co-production with Spanish and Mexican finance. The qualities of its protagonists are at odds with the principles of comedy, which regulate de la Iglesia's fictional worlds, where there is usually room for neither heroism nor beauty. In the film, the two leads embody a traditional form of wish fulfilment for the spectator, sexual potency and mastery of the world around them. Perdita can be considered as a ferocious parody of timeworn American ideologies about the pleasures of Mexico. It may not say anything empirically valuable about social relations along the US–Mexico border, but it does confirm that the cinema of de la Iglesia is firmly on the side of spectacle and against the traditions of cinematic realism.

Keywords:   Perdita Durango, de la Iglesia, cinematic realism, American ideologies, Mexico, international co-production, sexual potency, cinematic realism

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