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Speaker 1: From Fudro Media and PRX. It's Latino Usa. I'm Maria

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Speaker 1: Rosa today a dive into the rabbit hole that is

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Speaker 1: the world of Pedro Albodoba's movies and what they tell

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Speaker 1: us about las mouheres latinas. Here's a story to understand

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Speaker 1: muhere's latinas better or if you are a Latina, something

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Speaker 1: I think you're really going to relate to. We originally

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Speaker 1: aired this episode in twenty seventeen, but it remains fresh today.

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Speaker 1: Back then, I was in the studio with producers Vidnandatchavarri

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Speaker 1: and Antonia Sejido, and we were deep into a conversation

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Speaker 1: about the dramatic Latina stereotype.

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Speaker 2: I cry very easily, and I think to a lot

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Speaker 2: of people that's a sign of crazy, neurotic person or

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Speaker 2: like emotionally unstable. I think it's the opposite. I think

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Speaker 2: I am super in tune with what I feel. If

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Speaker 2: I'm angry, I will cry with rage. If I'm happy,

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Speaker 2: I will cry with happiness. If I'm sad, I will.

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Speaker 3: Sob I Actually it's funny. My dad always tells the

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Speaker 3: story because it's true. When I was little, i'd like

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Speaker 3: start crying hysterically, and my parents would try to comfort me,

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Speaker 3: and I would tell them no, I'll just cry this out.

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Speaker 2: Can you relate to any of them?

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Speaker 3: Oh?

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Speaker 1: Can I relate to any of it? I'm right there

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Speaker 1: with Fernanda in the sense that, oh better claro. Now.

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Speaker 1: I don't like to cry in front of you guys,

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Speaker 1: like in the office, but you've all seen me cry.

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Speaker 1: I'm very dramatic.

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Speaker 2: You know.

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Speaker 1: I'll come in. You'll hear the stories. I'm either very

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Speaker 1: happy or I'm very sad.

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Speaker 4: You'll hear the story.

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Speaker 5: We'll also hear the stump stump, stop with your high heels,

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Speaker 5: open the doors song.

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Speaker 2: This is on like good morning. So I want to

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Speaker 2: know if you've been called over emotional, too sensitive, or

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Speaker 2: too neurotic, a criticism in your life.

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Speaker 6: All of the above.

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Speaker 3: Yeah, oh yeah, okay, So I kind of want to

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Speaker 3: turn this on its head for a sec. I mean,

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Speaker 3: I think there's also something to be said about like

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Speaker 3: owning the term notodigas.

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Speaker 2: It's not like we're letting our emotions take over. What

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Speaker 2: people don't know is that we're actually using those emotions

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Speaker 2: to our advantage to get through whatever situation we are

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Speaker 2: going through.

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Speaker 1: There is definitely a stereotype of the fast talking Spanish

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Speaker 1: speaking woman with a zest for life and intensity. And

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Speaker 1: this week we're leaning in and embracing the stereotype of

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Speaker 1: the neurotic Latina today on our show Women on the Verge,

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Speaker 1: the story of Fernanda and Antonia's surprising journey to embrace

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Speaker 1: the high strung side of themselves.

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Speaker 3: So clearly, Fernanda and I have some things in common.

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Speaker 3: We love a good cry, we're not afraid to suffer,

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Speaker 3: and so of course we're here. Huge fans of movies

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Speaker 3: by Spanish director Pedro and Moloa, in particular the appropriately

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Speaker 3: titledos Or in English, Women on the Verge of a

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Speaker 3: Nervous Breakdown.

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Speaker 2: The movie came out in the late eighties and it's

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Speaker 2: an absurd comedy filled with racy characters and raunchy dialogue.

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Speaker 2: There's a scene that has become the iconic image of

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Speaker 2: the neurotic woman, and in particular the Spanish speaking neurotic woman.

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Speaker 2: It's when Pepa, the main character, lights her bed on

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Speaker 2: fire by mistake because she's in such a haste after

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Speaker 2: breaking up with her boyfriend, and after she manages to

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Speaker 2: host down her bed, she starts packing all of her

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Speaker 2: excess stuff in a suitcase, while the smoke from her

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Speaker 2: bedroom fills the rest of the apartment.

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Speaker 3: So we ourselves are often on the verge of a

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Speaker 3: nervous breakdown, but we're not alone there. There's something called

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Speaker 3: the Chicas and Moloa.

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Speaker 2: Throughout his career, A Moldova has put women at the

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Speaker 2: center of his films, hence Chicas and Molova, and one

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Speaker 2: of the most recognizable names in the US is probably

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Speaker 2: Penelope Cruz.

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Speaker 3: It's hard to describe exactly what a Chica and moload is.

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Speaker 3: Chikas and moload are a combination of witty and funny,

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Speaker 3: with sex appeal and smarts.

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Speaker 2: A touch of intents, no shame when it comes to

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Speaker 2: expressing emotion, and at their core pretty neurotic.

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Speaker 6: And we wanted to dive deeper.

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Speaker 2: Into Almolova's universe of women. So when the Museum of

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Speaker 2: Modern Art here in New York City announced it would have.

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Speaker 3: A retrospective, immediately this idea popped into my head and

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Speaker 3: I was like, I want to watch every single one

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Speaker 3: of these And then I thought I would go insane.

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Speaker 3: What should I do? I should invite a good friend

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Speaker 3: of mine to also go insane.

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Speaker 2: With me and someone who you knew was a little

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Speaker 2: insane to be able to agree this this.

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Speaker 3: And I was like, me and Fernanda, we're going to

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Speaker 3: do this. We're going to watch every single on Moloa movie.

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Speaker 2: You and I have set up this schedule, which once

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Speaker 2: we put it on paper, it looks it looks crazy.

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Speaker 2: It just looks like the who would put themselves through this,

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Speaker 2: and not because the films aren't great. I'm excited, but

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Speaker 2: I'm also a little like, what's that going to feel like?

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Speaker 4: Okay, here's the plan.

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Speaker 3: We watch every single movie and moloaa directed.

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Speaker 2: That's twenty, yes, twenty two hour long movies.

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Speaker 3: But before we tell you about our an moload Binge

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Speaker 3: watching quest, we should mention that we don't have enough

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Speaker 3: time in the show to talk about all of the movies.

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Speaker 2: In full disclosure, we didn't go to film school and

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Speaker 2: we're not going to be critiquing the cinematography, camera work, editing,

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Speaker 2: you get it.

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Speaker 3: But before we got started, we thought we'd ask around

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Speaker 3: for some tips in.

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Speaker 4: The advice as we do this.

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Speaker 6: For handling, I mean, the.

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Speaker 7: Main thing is that you are going to watch it.

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Speaker 7: There are many not prejudices, but many cliches about myself

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Speaker 7: and about my movies. So trying to forget everything you

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Speaker 7: have read or read before about the movies and myself.

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Speaker 2: And that ladies and gentlemen is beteran Molova himself.

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Speaker 3: Fernanda and I actually got the opportunity to sit down

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Speaker 3: and talk with him when he was here in New

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Speaker 3: York for the premiere of his new movie Julietta.

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Speaker 7: You are giving me and the movies the chance, and

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Speaker 7: this is the more generous thing that you can do.

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Speaker 2: When we told them Moloa about our plan to watch

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Speaker 2: every single one of his films back to back, he

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Speaker 2: told us he's actually never done that. We should also

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Speaker 2: preface this by saying that we are pretty neurotic to

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Speaker 2: be read on different levels. Yeah, Mexican went to Catholic school.

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Speaker 2: That's a whole lot of story there.

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Speaker 3: Argentine, long line of psychoanalysts and like too much self analysis.

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Speaker 2: So we already are like at an operating at a

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Speaker 2: high level of neuroses on the daily.

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Speaker 4: Oy okay.

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Speaker 2: So, Antonia and I sit across from each other at

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Speaker 2: the Latino USA office. We hang out after work and

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Speaker 2: we spend a lot of time together. So to be honest,

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Speaker 2: we were feeling a little worried about how doing this

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Speaker 2: might affect our relationship. What about friendship breakups with work?

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Speaker 2: Have you ever had to break up with a friend

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Speaker 2: or break up with a with a work friend.

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Speaker 7: Essentially, friendship is a stronger relation than with lovers. So

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Speaker 7: I think it's tougher you have to break with a friend,

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Speaker 7: and at the same time that that makes more difficult

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Speaker 7: to work with. I think it's tough about it anyway,

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Speaker 7: I mean, at least I mean under my experience.

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Speaker 4: What do you think I think it is.

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Speaker 2: It's difficult because you you're with each other all day

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Speaker 2: at work, and then we'll go get dinner or hang

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Speaker 2: out afterwards, and you're with that same person again. So

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Speaker 2: you have to really like that person to be with

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Speaker 2: them for that long.

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Speaker 3: And I think it's hard to create something beautiful with

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Speaker 3: someone that you're proud of. And so when you lose

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Speaker 3: the connection with someone where you created something you're proud of,

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Speaker 3: I think that that always feels fad.

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Speaker 7: Yeah, no, that what makes for me is that I

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Speaker 7: will never forget that person if because also, of course

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Speaker 7: I have problems with people that I worked with that

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Speaker 7: they were friends on I mean, so.

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Speaker 6: Hopefully we'll still be friends at the end of.

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Speaker 7: The you can write and not all about friends and

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Speaker 7: all that, So I mean taking advantage of how you feel.

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Speaker 3: So as we sat out, we wanted to establish some

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Speaker 3: ground rules.

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Speaker 2: Whether we were watching the movies and the theater at

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Speaker 2: moment or on my couch, we wanted to record ourselves

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Speaker 2: talking about each movie right after it ended.

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Speaker 6: Should we keep grand Ganga in the background?

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Speaker 4: No, because it's gonna make editing more difficult.

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Speaker 3: Okay, I have so many questions right now.

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Speaker 2: First off, we just watched La Benindo The Labyrinth of Passions,

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Speaker 2: and it turns out that it is quite a labyrinth

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Speaker 2: of weird passions.

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Speaker 3: Labyrinth of Passions is one of the first movies we watched,

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Speaker 3: and it is also one of the first movies and

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Speaker 3: Modova ever directed.

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Speaker 2: The plot of the movie itself is kind of crazy, confusing,

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Speaker 2: but one of the things that comes across clearly is

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Speaker 2: the energy of La movida Madrilena, a counterculture art movement

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Speaker 2: that emerged in the late seventies and into the eighties

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Speaker 2: in Madrid.

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Speaker 3: When I'm Moldovad started making movies. Francisco Franco, the Spanish

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Speaker 3: dictator had just passed away and after being under such

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Speaker 3: a strict authoritarian Catholic regime Spain, and in particular Melody

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Speaker 3: was bubbling over with this new energy. And then Moloa,

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Speaker 3: a young creative gay man, found himself in the midst

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Speaker 3: of the mobida as they would later call it, Labyrinth

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Speaker 3: of Passion shows this new underground culture.

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Speaker 2: The song you're listening to is from a scene in

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Speaker 2: the movie when on Molovad and his actual punk band

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Speaker 2: and Molova and McNamara is playing a song called Suck

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Speaker 2: It to Me. They're dressed in drag, playing for a

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Speaker 2: crowd with huge eighties hair and off the shoulder shirts

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Speaker 2: who were going crazy. So the first question that we

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Speaker 2: want to answer in all of the movies that we

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Speaker 2: watch is is there any character that you feel a

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Speaker 2: connection to.

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Speaker 6: Do you identify with anyone in the film?

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Speaker 4: Absolutely? Not no one, No, not really interesting? What about you?

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Speaker 4: I mean, clearly there's one very obvious character who who

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Speaker 4: you don't know? No, Oh my god, the suspense is

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Speaker 4: killing me. Who there's no one thinks you're so annoying,

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Speaker 4: I know.

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Speaker 6: Hold on.

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Speaker 2: The second question was do we feel more neurotic or

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Speaker 2: less neurotic after we watch this film, I have to

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Speaker 2: say more, Yeah, me too, because I wanted them to

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Speaker 2: freak out more at some of the revelations, and no

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Speaker 2: one freaked out.

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Speaker 3: But I feel like we think about Mala movies as

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Speaker 3: like all the women go crazy, but in this movie,

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Speaker 3: it's like these situation is crazy and the women are

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Speaker 3: totally normal.

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Speaker 4: Yes.

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Speaker 6: Yes, which is why I feel neurotic right.

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Speaker 4: Now, because you're like, why weren't they freaking out more?

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Speaker 2: Because I'm freaking out for them.

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Speaker 3: Oh, there will be more freakouts to come.

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Speaker 1: Coming up on Latino USA. Will Fernanda and Antonia get

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Speaker 1: through all of Almodova's movies and what's gonna happen to them?

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Speaker 1: Will they start wearing sunglasses indoors?

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Speaker 2: I mean we texted what yesterday and in the morning

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Speaker 2: about something else, and then you were like, I'm feeling weird,

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Speaker 2: and I was like me.

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Speaker 6: Too, and then you joked and you were like, it's

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Speaker 6: the movie.

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Speaker 1: Stay with us, Welcome back to Latino USA. I'm Maria

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Speaker 1: no Hossan. And when we left off, our producers Antonia

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Speaker 1: Seejidro and Fernande Chavarri. We're in the midst of a

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Speaker 1: kind of social experiment the question we're watching all of

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Speaker 1: Bedroon Molowata's movies make them more or less neurotic.

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Speaker 3: So we had just finished watching our fifth or sixth movie.

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Speaker 3: It was getting really hard to keep track, and it

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Speaker 3: was Moloaa's second oscar Win all about my mother, and

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Speaker 3: the movie was, in the words of Fernanda.

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Speaker 6: Big slap in the face of sad reality.

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Speaker 2: We were riding the train back from moment and answering

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Speaker 2: our standard questions, which.

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Speaker 4: Character did you relate to?

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Speaker 8: If you related to any Penelope Crus's character, I actually

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Speaker 8: relate to a lot in the sense of like she

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Speaker 8: has like a neediness that I really relate to, and

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Speaker 8: that right.

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Speaker 6: She also was like, oh, I'm going to tell you

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Speaker 6: all of these things.

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Speaker 4: Also, my friend asked me not to.

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Speaker 2: Tell you about it, but I'm gonna tell you anyway.

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Speaker 2: And I was like, Antonia, you cannot keep a secret.

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Speaker 4: When was the last time you told me a secret?

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Speaker 2: Will you tell me too many things about other people

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Speaker 2: that I don't know that they would want you to

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Speaker 2: tell me.

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Speaker 6: That's not the same as you telling me a secret.

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Speaker 4: You are correct, You are correct.

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Speaker 5: Scratch that from the record, Madame Secretary.

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Speaker 4: Back to all about my mother.

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Speaker 3: When we spoke to one Moload at the beginning of

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Speaker 3: our journey, he told us that it is in fact

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Speaker 3: all about his mother.

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Speaker 7: My mother. It was a big inspiration of the rest

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Speaker 7: of the mothers that I wrote about in in my

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Speaker 7: other movies, because I mean, maternity or motherhood is very

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Speaker 7: present in my movies. But I have a strong memory

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Speaker 7: of my mother behavior and the rest of neighbors. And

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Speaker 7: when I was signed, I mean I was a key

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Speaker 7: surrounded by women.

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Speaker 2: And another much lighter film that takes on motherhood is

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Speaker 2: High Heels.

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Speaker 4: The movie is a.

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Speaker 3: Total mix of camp and humor, shot in places like

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Speaker 3: a drag bar and a women's prison, where there is

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Speaker 3: an amazing dance sequence.

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Speaker 4: But also it's a story of a.

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Speaker 3: Very real and complicated relationship between a mother and a daughter.

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Speaker 2: I think this one for me, and I mean, we've

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Speaker 2: seen many relationships between mothers and daughters. Last night we

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Speaker 2: watch vo this one is one of the more complicated ones,

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Speaker 2: and it feels more real to me.

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Speaker 3: In true Amla fashion, there is a bizarre scene where

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Speaker 3: the daughter sleeps with a drag queen who is dressed

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Speaker 3: like her mom.

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Speaker 2: At this point, we're halfway through all the movies, and

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Speaker 2: the more we watch, the more we start analyzing our

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Speaker 2: own relationship.

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Speaker 3: What about your relationship with your mom?

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Speaker 2: I mean that it's impossible for me not to kind

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Speaker 2: of pick apart on my relationship with my mom because

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Speaker 2: so much of an Moloba's history with film has to

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Speaker 2: do with moms. So many movies have relationships between daughters

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Speaker 2: and their moms. And I haven't lived with my mom

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Speaker 2: since I was fourteen years old. I'm thirty one, so

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Speaker 2: most of my life I've lived away from my mom.

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Speaker 2: She lives in another country. We see each other once

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Speaker 2: a year, and for a very long time, we didn't

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Speaker 2: really have a relationship that was healthy or good or

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Speaker 2: even that you could call a relationship that was little communication.

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Speaker 2: So it's a complicated relationship that becomes more and more

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Speaker 2: apparent how complicated it is and how many years I

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Speaker 2: went without it. When I watch his films where the

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Speaker 2: mom and daughter are almost one, they're always so close,

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Speaker 2: and whether that is close in a good way or

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Speaker 2: close in a bad way because they fight all the time,

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Speaker 2: they are physically close, they are emotionally close, and that

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Speaker 2: watching that on screen over and over and over again

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Speaker 2: with so many films made me realize how incredibly far

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Speaker 2: I am from it. And thankfully my mom and I

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Speaker 2: are in a good place, and we have been for

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Speaker 2: a few years, and I'm happy to talk to her

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Speaker 2: as much as I do now. So I'm glad that

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Speaker 2: that's happening when my mom and I are in a

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Speaker 2: good place, because otherwise this would have gotten a little

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Speaker 2: dark for me, I think.

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Speaker 4: So here we are.

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Speaker 2: Back out of another movie.

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Speaker 6: So we just watched The Flower of My Secret.

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Speaker 3: La Flora came out in nineteen ninety five, and it's

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Speaker 3: a true melodrama. If you compare it to other dramas,

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Speaker 3: it might seem a little over the top, but in

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Speaker 3: comparison to other Almodova movies, this one seems pretty tame.

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Speaker 4: It's the story of.

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Speaker 2: A woman named Leo and the end of her marriage.

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Speaker 2: Leo is a writer who, under a pseudonym, puts out

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Speaker 2: romance novels, and although this is one of our Modova's

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Speaker 2: more straightforward films, it still has the over dramatic touch

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Speaker 2: even in the simplest of scenes. The film opens with

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Speaker 2: Leo at her typewriter. Every day I wear something of yours,

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Speaker 2: she types. Today, I'm wearing the ankle boots you gave

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Speaker 2: me two years ago. Remember how you had to help

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Speaker 2: me take them off that night. I'm wearing them again

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Speaker 2: today in your honor. But now they're too tight. Sometimes

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Speaker 2: I think of you, like these boots that squeeze my

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Speaker 2: heart so tight I can't breathe.

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Speaker 3: So after Leo is unable to take the boots off,

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Speaker 3: she leaves her house and she's a homeless guy asking

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Speaker 3: for money on the street. She says that she'll pay

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Speaker 3: him to help her take the boots off.

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Speaker 2: So there she is sitting by a fountain at the

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Speaker 2: park with the homeless guy pulling out her boots when

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Speaker 2: it starts to rain, and of course he can't get

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Speaker 2: the boots off.

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Speaker 3: Leo leaves the park and then goes to her friend's office.

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Speaker 2: And in the most serious way looks at her and

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Speaker 2: with like a really deep voice and like panic in

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Speaker 2: her voice, she's like.

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Speaker 4: Em and you look at.

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Speaker 6: Jos.

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Speaker 2: I'm here because I need you to help me ruing

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Speaker 2: with these booties from my feet, because I can't do

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Speaker 2: it alone. And it's said in the most dramatic way,

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Speaker 2: as if she was delivering some really important news, not.

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Speaker 4: Yo. Throughout the movie.

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Speaker 3: There are dark so comedic moments like this one, but

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Speaker 3: really the Flower of My Secret is pretty sad. You

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Speaker 3: can't help but feel for Leo when her husband tells

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Speaker 3: her that he's leaving her.

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Speaker 2: And Moload takes us through the motions of mourning the

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Speaker 2: death of Leo's relationship, from the initial shock to the

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Speaker 2: deep depression and confusion about just what went wrong.

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Speaker 3: Like in many and Moload movies, Leo's mother is a

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Speaker 3: central character. When Leo's at her lowest, her mother takes

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Speaker 3: her to the small village where they're from so she

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Speaker 3: can heal.

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Speaker 1: Federal tier.

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Speaker 2: In this scene, Leo's mother tells her that sometimes we

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Speaker 2: can end up feeling like a cow without a cowbill,

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Speaker 2: just wandering around without direction. So we have to go

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Speaker 2: back to where we came from and spend time with

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Speaker 2: the women around us, because if we don't, we get

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Speaker 2: lost out there, like cows without cow bells.

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Speaker 3: I think one of the things that we keep seeing

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Speaker 3: time and time again. But I just like absolutely love

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Speaker 3: and it definitely feels true as someone who just went

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Speaker 3: through a breakup. The moments in which I'm like happiest

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Speaker 3: and like feel most at ease is like when I'm

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Speaker 3: with all of my girlfriends, just like the relief of

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Speaker 3: like having humor and gossip and a community and understanding.

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Speaker 3: And I think that there's something really really beautiful about

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Speaker 3: how Moload understands the way in which women are like

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Speaker 3: such an incredible they create these spaces of comfort that are.

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Speaker 4: Like so so so important.

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Speaker 2: Well, it's the super cheesy way of saying it takes

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Speaker 2: a village, and he or she literally goes to the

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Speaker 2: village and it takes like a group of women to

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Speaker 2: sort of like hold her up and let her know

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Speaker 2: that she's not alone going through this. And it felt

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Speaker 2: very much also like that for me when I went

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Speaker 2: through a sad time as I relied on my girlfriends

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Speaker 2: to listen to me crying, but to also call me

385
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Speaker 2: out on it and say you you got it, like

386
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Speaker 2: like snap out of it at times, you know.

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Speaker 6: So it was really nice. I can be your little

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Speaker 6: old lady in the Spanish village.

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Speaker 4: Oh my god, we can.

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00:22:31,240 --> 00:22:33,000
Speaker 6: Stay on the sub and knit together.

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Speaker 4: This weekend was just like so hard.

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Speaker 3: It was just like I think it's like the it's

393
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Speaker 3: the first weekend I've had in New York after my breakup.

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Speaker 4: It was just like work work, work, work, work.

395
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Speaker 3: And then I was like home with my family and

396
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Speaker 3: so they were always around and I wasn't.

397
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Speaker 4: Like going to like bed alone.

398
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Speaker 3: I'm like not used to like going out and then

399
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Speaker 3: having no one to like tell like I'm going to

400
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Speaker 3: sleep now.

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Speaker 4: I mean I texted you and I told you.

402
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Speaker 6: Can text speek good night every night and I will

403
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Speaker 6: text that and.

404
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Speaker 4: I super appreciate that.

405
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Speaker 3: As the weeks went by, one by one, we watched

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Speaker 3: us on took Us from the eighties to today.

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Speaker 2: Okay, so we just watched at Me, which in English

408
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Speaker 2: is not just tie me up, but tie me up

409
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Speaker 2: and tie me down.

410
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Speaker 4: Oh, it's like everything you can want in a movie.

411
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Speaker 5: I also have like a weird family connection.

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Speaker 6: To non you have another.

413
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Speaker 4: You are?

414
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Speaker 2: Do you have a character that you can relate to

415
00:23:56,680 --> 00:23:57,120
Speaker 2: in this movie?

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Speaker 9: Do you feel more neurotic or less?

417
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Speaker 4: I don't relate to the sister.

418
00:24:03,440 --> 00:24:04,320
Speaker 6: Well, no, that's not true.

419
00:24:04,400 --> 00:24:06,480
Speaker 2: Actually, my sister has been with a lot of guys

420
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Speaker 2: that are not good for her.

421
00:24:09,400 --> 00:24:13,080
Speaker 3: It's really funny. Those are I feel exactly the same way, really.

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Speaker 5: The same ones.

423
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Speaker 9: Well, so do you feel more neurotic or less neurotic

424
00:24:19,840 --> 00:24:25,280
Speaker 9: after having watched this Andrea Lobo.

425
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Speaker 4: It's like a quiet and loud pain all at once.

426
00:24:27,480 --> 00:24:30,359
Speaker 4: And I had the creeps throughout most of the movies.

427
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Speaker 4: So different between this movie and Julia.

428
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Speaker 2: It's like crazy, since for the last like eight and

429
00:24:35,720 --> 00:24:38,520
Speaker 2: a half hours, it's been give and me watching three

430
00:24:38,520 --> 00:24:46,320
Speaker 2: movies back to back. Today, at this point in the process,

431
00:24:46,400 --> 00:24:50,040
Speaker 2: we've watched most about Molovar's movies. That's about thirty hours

432
00:24:50,040 --> 00:24:53,760
Speaker 2: of drama, laughter, sex, and tears. And we didn't really

433
00:24:53,800 --> 00:24:55,679
Speaker 2: pick up on it right away, but it seemed to

434
00:24:55,680 --> 00:24:57,800
Speaker 2: be having a bit of an impact. I mean, we

435
00:24:58,359 --> 00:25:01,879
Speaker 2: texted what yesterday in the morning about something else, and

436
00:25:01,920 --> 00:25:03,639
Speaker 2: then you were like, I'm feeling weird, and I was

437
00:25:03,680 --> 00:25:05,480
Speaker 2: like me too, and then you joked and.

438
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Speaker 6: You were like, it's the movie.

439
00:25:06,800 --> 00:25:11,159
Speaker 2: Like maybe it's not a joke, because maybe if we

440
00:25:11,359 --> 00:25:13,360
Speaker 2: just watched the movies and didn't talk about them, that'd

441
00:25:13,359 --> 00:25:18,679
Speaker 2: be a different story. But by talking about it right now,

442
00:25:19,040 --> 00:25:22,880
Speaker 2: it becomes more real, if that makes sense, Like our

443
00:25:22,920 --> 00:25:27,959
Speaker 2: feelings are one validated, but also like I'm scared of

444
00:25:27,960 --> 00:25:29,640
Speaker 2: of yourself myself.

445
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Speaker 3: I'm feel like I'm feeling super crazy. So many of

446
00:25:40,560 --> 00:25:43,720
Speaker 3: aut Moloada's movies are centered on the relationship between women,

447
00:25:43,920 --> 00:25:46,720
Speaker 3: whether it's two girlfriends, mother and daughter, or women who

448
00:25:46,760 --> 00:25:49,119
Speaker 3: work together, and we wanted to know why. So in

449
00:25:49,119 --> 00:25:52,040
Speaker 3: that initial conversation with at Moload, we asked him, and.

450
00:25:52,119 --> 00:25:56,679
Speaker 2: What about the difference between relationships and friendships with women

451
00:25:57,160 --> 00:25:59,359
Speaker 2: versus friendships with men and women?

452
00:26:00,119 --> 00:26:03,400
Speaker 7: I mean, women, you have you are more spontaneous. When

453
00:26:03,440 --> 00:26:06,600
Speaker 7: I say that you are more spontaneous, it means that

454
00:26:06,960 --> 00:26:10,679
Speaker 7: you express yourself and you behave like as you feel.

455
00:26:11,280 --> 00:26:13,960
Speaker 7: And it seems to me that you don't have as

456
00:26:14,040 --> 00:26:17,679
Speaker 7: we I mean, men have a kind of sense of

457
00:26:17,720 --> 00:26:21,800
Speaker 7: being ridiculous. You're there, I mean, just to be ridiculous

458
00:26:21,800 --> 00:26:24,280
Speaker 7: if you if you need it, you don't mind. I

459
00:26:24,320 --> 00:26:29,560
Speaker 7: mean A very big admirer of women relationship and women characters.

460
00:26:30,040 --> 00:26:32,600
Speaker 2: Both of us agree that this is the best thing

461
00:26:32,600 --> 00:26:35,960
Speaker 2: about on Molovar's movies. It's the way he understands how

462
00:26:36,040 --> 00:26:38,879
Speaker 2: women relate to one another both in times of crisis

463
00:26:38,920 --> 00:26:39,760
Speaker 2: and enjoy.

464
00:26:39,800 --> 00:26:41,879
Speaker 3: Im although it has been critiqued over the years for

465
00:26:41,960 --> 00:26:44,960
Speaker 3: the way he shows women in some very violent or

466
00:26:45,000 --> 00:26:46,760
Speaker 3: obscene situations, But what.

467
00:26:46,760 --> 00:26:49,760
Speaker 2: Antonia and I are noticing is actually the way in

468
00:26:49,800 --> 00:26:52,560
Speaker 2: which women are shown to be strong enough to get

469
00:26:52,600 --> 00:26:53,600
Speaker 2: through anything.

470
00:26:57,720 --> 00:27:01,000
Speaker 3: Yeah, and now it's time to watch the only movie

471
00:27:01,040 --> 00:27:04,720
Speaker 3: we have left, and by coincidence, it's al Modova's debut film,

472
00:27:04,760 --> 00:27:06,760
Speaker 3: Bippy Lucy Bomb I Lestrigon.

473
00:27:09,160 --> 00:27:11,679
Speaker 2: The movie is about a young party girl, Pippy, and

474
00:27:11,720 --> 00:27:15,000
Speaker 2: her two friends who navigate the post Franco streets of Marine.

475
00:27:15,320 --> 00:27:18,159
Speaker 2: They beat up a police officer who had sexually assaulted Peppy,

476
00:27:18,280 --> 00:27:19,960
Speaker 2: and then go to parties where they play in a

477
00:27:19,960 --> 00:27:20,480
Speaker 2: punk band.

478
00:27:21,080 --> 00:27:23,520
Speaker 3: It's an hour and twenty two minutes of girls spending

479
00:27:23,560 --> 00:27:25,480
Speaker 3: time together and doing friend things.

480
00:27:29,800 --> 00:27:31,400
Speaker 4: I love, love, love.

481
00:27:31,240 --> 00:27:35,280
Speaker 2: The friendship between Pippy and Bomb, really love it, especially

482
00:27:35,359 --> 00:27:38,840
Speaker 2: the ending scene of the movie where they're both at

483
00:27:38,840 --> 00:27:41,560
Speaker 2: a kind of unstable place, but because they're leaning on

484
00:27:41,640 --> 00:27:44,680
Speaker 2: each other, it feels more sturdy.

485
00:27:45,320 --> 00:27:47,280
Speaker 10: Are you trying to talk about a girl who just

486
00:27:47,320 --> 00:27:52,880
Speaker 10: went through a breakup and her other friend who are

487
00:27:53,000 --> 00:27:55,600
Speaker 10: walking into an uncertain political climate?

488
00:27:56,280 --> 00:27:58,600
Speaker 2: And I'm in a long distance relationship where my boyfriend's

489
00:27:58,600 --> 00:28:00,600
Speaker 2: about to move here, So it feels there's quite a

490
00:28:00,600 --> 00:28:18,199
Speaker 2: bit of uncertainty on that. As we wrap up our

491
00:28:18,280 --> 00:28:21,920
Speaker 2: social experiment, we realized that going through this and recording

492
00:28:21,920 --> 00:28:25,200
Speaker 2: ourselves debriefing after every movie was therapeutic.

493
00:28:25,359 --> 00:28:26,520
Speaker 6: Intense and fun.

494
00:28:27,080 --> 00:28:29,479
Speaker 2: It showed us that we're more than just work friends,

495
00:28:29,840 --> 00:28:32,760
Speaker 2: but also that we need a little time apart sometimes

496
00:28:32,800 --> 00:28:35,160
Speaker 2: because we sure know how to drive each other crazy.

497
00:28:35,640 --> 00:28:40,080
Speaker 3: And now it's time to ask the big question.

498
00:28:40,000 --> 00:28:45,200
Speaker 6: Drum Rope, please, did watching all.

499
00:28:45,040 --> 00:28:50,240
Speaker 3: Of pedro and movies make us more neurotic or less neurotic?

500
00:28:50,600 --> 00:28:52,160
Speaker 2: It's not as cc as I thought it would be

501
00:28:52,280 --> 00:28:54,080
Speaker 2: to say yes or no. Do you feel that way?

502
00:28:54,440 --> 00:28:55,920
Speaker 5: It's very complicated.

503
00:28:56,440 --> 00:29:01,560
Speaker 2: I feel more neurotic because we watched forty four fifty

504
00:29:01,640 --> 00:29:06,400
Speaker 2: hours about moldova intensity. But I also feel less neurotic

505
00:29:07,120 --> 00:29:10,280
Speaker 2: because I feel like watching forty four plus hours about

506
00:29:10,280 --> 00:29:15,800
Speaker 2: Moldova's craziness made me feel more okay with my own neuroses.

507
00:29:16,680 --> 00:29:20,000
Speaker 3: I also think it's hard to like not want to

508
00:29:20,120 --> 00:29:24,480
Speaker 3: mimic them. They're also like charming and like you like them.

509
00:29:24,760 --> 00:29:26,800
Speaker 3: I feel like there were maybe a couple more like

510
00:29:26,880 --> 00:29:29,840
Speaker 3: me throwing myself on my bed phone calls that were

511
00:29:30,120 --> 00:29:32,520
Speaker 3: ridiculous that I made, maybe because I was a little

512
00:29:32,520 --> 00:29:34,840
Speaker 3: bit inspired inspired.

513
00:29:35,960 --> 00:29:40,120
Speaker 5: But hey, we didn't light our beds on fire, That's true,

514
00:29:40,840 --> 00:29:44,920
Speaker 5: I came close.

515
00:29:51,200 --> 00:29:55,840
Speaker 3: What I've learned is neurosies doesn't matter what matters is

516
00:29:57,280 --> 00:30:02,480
Speaker 3: being surrounded by people who accept absolutely and who love

517
00:30:02,560 --> 00:30:05,960
Speaker 3: you absolutely, and who let you have fun but also

518
00:30:06,040 --> 00:30:10,280
Speaker 3: let you cry, and who agree to do something crazy

519
00:30:10,440 --> 00:30:13,080
Speaker 3: like watch every single movie with you.

520
00:30:17,120 --> 00:30:19,840
Speaker 1: So so, so so true. And thank you so much

521
00:30:19,880 --> 00:30:24,240
Speaker 1: to Latino USA producers Fernande Chavari and Antonia Serrihuido for

522
00:30:24,320 --> 00:30:27,440
Speaker 1: taking us through their personal journey of watching all of

523
00:30:27,480 --> 00:30:31,000
Speaker 1: Pedro Almodovar's movies back to back in order to figure

524
00:30:31,000 --> 00:30:46,440
Speaker 1: out their own neurosis. This episode was produced by Fernando

525
00:30:46,560 --> 00:30:52,040
Speaker 1: Chavari and Antonia Serrijuidro. The Latino USA team includes Victoria

526
00:30:52,040 --> 00:30:57,920
Speaker 1: Strada Rinaldo Jr. Andrea Lopez Gruzsado, Dori mar Marquez, Marta Martinez,

527
00:30:58,400 --> 00:31:02,440
Speaker 1: Mike Sargent, Nor Saudi, and Nancy Trujillo. Benni leiter Amidis

528
00:31:02,520 --> 00:31:06,200
Speaker 1: is our co executive producer. Our director of Engineering is

529
00:31:06,240 --> 00:31:10,800
Speaker 1: Stefane Lebau. Our senior engineer is Julia Caruso. Our marketing

530
00:31:10,840 --> 00:31:14,400
Speaker 1: manager is Luis Luna. Our theme music was composed by

531
00:31:14,440 --> 00:31:17,880
Speaker 1: Sea Rubinos. I'm your host and co executive producer Maria

532
00:31:18,000 --> 00:31:21,720
Speaker 1: Na Possan. Remember you can find Latino USA on your

533
00:31:21,760 --> 00:31:25,400
Speaker 1: podcast feed and also on our website, which is Letino

534
00:31:25,560 --> 00:31:30,080
Speaker 1: Usa dot org. Subscribe to Lettino Usa wherever you get

535
00:31:30,120 --> 00:31:33,040
Speaker 1: your podcasts. Join us again on our next episode. In

536
00:31:33,080 --> 00:31:35,440
Speaker 1: the meantime, remember to look for us on all of

537
00:31:35,480 --> 00:31:40,200
Speaker 1: your social media and remember Astell Approxima, Nottebayas Jao.

538
00:31:44,280 --> 00:31:48,320
Speaker 5: Latino USA is made possible in part by the Heising

539
00:31:48,400 --> 00:31:53,280
Speaker 5: Simons Foundation, unlocking knowledge, opportunity and possibilities.

540
00:31:53,840 --> 00:31:56,400
Speaker 4: More at hsfoundation dot org.

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00:31:57,320 --> 00:32:01,240
Speaker 6: Agnes Gunnd and his annex and philanthropy