With the future of time, the new forms of thought, the rise of feminism, the exposure of the silence and equality between men and women, it is logical that the fictional heroes, in this case the heroines, have mutated and Today the real and imperfect are the booming topics. Nothing remains of those protagonists of soap operas of yesteryear, poor people, frustrated, who expected the kiss of their beloved to resurface from the ashes and live princess’s life in Disney Castle.
Today women feel represented by characters such as Bridget Jones, Vicky of “Envidiosa” and Valeria of the namesake Spanish series. Simply, antiherines because they do not comply with hegemonic mandates. All of them are nothing more than the improved, refined and updated version of the paradigmatic Carrie Bradshaw from “Sex and The City”who initiated this path of real, unstable, insecure woman, successful in her work, passionate, self -sufficient, friend of her friends, complicated in her love relationships and alienately looking for a happiness that comes at times and at times not.
Bárbara Arroyofilm journalist, he says: “Television heroines were updated along with society. From those Jeannette Rodríguez (‘Cristal’), Greece Colmenares and Thaliathat they were submissive, poor, without a future and who fell in love with rich men, we passed the women who took the reins of their lives and their careers. The woman developed professionally and that has been reflected throughout the female characters of fiction. ”
A star is born
This breaking point between the past and the present was marked by the success of the film “Bridget Jones’ newspaper”adaptation of the Helen Fielding novel published in 1996. In the film, its protagonist, perfectionly personified by the actress Renée Zellwegershe is clumsy, insecure, obsessed with losing weight, addicted to cigarette and alcohol, but in her work she is brilliant and when she proposes it, she falls in love with the most unconchistable man. She is a sea of doubts that represented all her female stalls almost unanimously, being in the antipodes of the Julia Robert of “Nice woman” What happens from the low background, including prostitution, to being the princess of the story. In fact Bridget Jones had three sequelae, in each of them, a different stage, where the first fans felt that Jones was evolving and advancing along with them. In his last installment, recently released on February 14, he is a widow, in the care of his two children and living an intense romance with a 21 -year -old man, another period phenomenon, which was previously unthinkable in cinema.
“Bridget Jones shows that imperfection, that genuine, not being in continuous poses and being more real, which characterizes us so much today,” he says Laura CozzaBachelor of International Relations, 40 years. And it continues: “Women are sometimes incorrect, sometimes we are unbearable, we collapse, get up and relive. Many women of 40 already live everything, we already fell in love, we cried, we were already bad and they told us that this was the end, but it always ends up being the beginning of another story. His characters reflect our lives, identify us and that makes us follow them. We are not alone in this that happens to us. ”
Unthinkable success
“Envious”the Argentine series starring Griselda Sicilianisince its premiere in Netflix last year it became a global phenomenon. What at first seemed to be an archaic cliché about women wanting to fulfill the mandates of marrying and having children, proved to be a criticism of a type of mandate.
The story begins when Victorya successful environments decorator that is around 40, is abandoned by her boyfriend of almost a decade, who in turn suddenly marries a Brazilian curvilinear who met from one day to the other. The character played by Siciliani implies psychically and in therapy is telling his psychologist (Lorena Vega’s role and who also took great media impact) all his miseries, which achieve empathy and identification of the spectators.
Comes back Arroyo with his critical and feminine gaze: “The success of ‘envious’ has to do with that that we do not keep ourselves anymore and that it was bad to say, as envy towards friends or colleagues that do better than one, that others triumph already cost us more, or They fall in love and we are not. But the key to the script of its author Carolina Aguirre is that its protagonist Vicky, throughout history, contradicts and evolving, because in the second season he even questions that of the mandate of marrying and having children and is good Because it is a contradiction that women have daily. ”
Romina Castellini, Degree in Psychology and Specialist in Women and Couplesconsulted by News reflects: “In these fiction characters the message of ‘The union is strength’ is hidden. And that union allows us to better understand our emotions, to have the courage to process them understanding that if there is another one that is wrong, it falls and has the courage to get up, then I am also able to do it. They are motor characters that show that they are not so alone, they are not crazy and at the same time they make mirror, undress the soul and one looks more clearly through the other. ” Feminist conquests thus have a correlate in the cinema that reflects vintage climates.
Nearby heels
Another of the cinematographic productions that became a Bible for current women is the Spanish series “Valeria”inspired by the author’s best seller Elisabet Benavent. Here, the age range lowers a decade and addresses the problem of women who finish the twenty -one and the Trenti begin. A kind of reformulation of the plot of “Sex and The City”but without so many taboos and with a much greater mental openness. While what happened in New York in the mid -90s was planting, what happens in the current Madrid is its harvest. Four free friends, each with their mark, led by Valeria, also a writer but not a weekly as Carrie Bradshaw but of books. Another evolution is that Nerea, one of the four friends, is a lesbian, while the character of Miranda Hobbes (Cynthia Nixon), by “Sex and The City”just recognizes your sexuality in “And Just like that …”released only a few years ago and of imminent third season.
These new contemporary antiherines, much closer to current women than the once “Doll Brava” (Natalia Oreiro) and “Antonella” (Andrea del Boca)They force the psyche professionals to a refresh in their cinematheca.
The licensee Castellini It reinforces: “The woman realizes after a great analysis work, which can listen to her desire being deaf from social discourse, without feeling shame or prejudices they will say. I always transmit that beyond the coincidences with the fictional characters, each person is unique, with their own cognitive schemes, their internal world formed by years and years of experiences, but without a doubt these virtual lenses serve to better interpret the situation of each one ”.
Sex and the city
When on June 6, 1998 the North American series “Sex and The City” He began to be transmitted on the HBO channel, his four protagonists amazed and horrified the world for brutal honesty they handled on issues such as sexuality, seduction, femininity, work and economic autonomy. Carrie Bradshawwriter of a column about sex in the fictional newspaper “The New York Star”, was the natural leader of a group of women between 30 and 40 years who also formed a successful lawyer (Miranda Hobbes), a nymphomaniac public relationship (Samantha Jones) and an art gallery owner and Susanita who was only looking for a man to marry (Charlotte York).
All of them archaic and established preconcepts that the same series in their six seasons and the new ones demolished and unified in unique and real women, who were not only in “La Grande apple”, but in the row of a bank in Buenos Aires or in The waiting room of a hospital in Madrid. Sarah Jessica Parker assumed the risk, criticism and flattery and paved the way for her successors, Bridget Jones, Vicky of “Envidiosa” and Valeria.
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