Y Tu Mamá También and Its Significance in the Mexican Treatment of Women

Since the beginning of civilization, women have fought to gain equal rights as men. This struggle has lasted for thousands of years, but just within the past hundred years women have earned the same legal rights as men. Although women may have the same legal rights as men in the majority of the developed world, they are yet to be treated as their equals in both the home and the work place. The treatment of women is observed through a variety of ways such as statistical studies, analyzing current events, and observing the arts. One of the most direct ways to observe the treatment is through the portrayal of women in the arts. Whether it is rap music referring to women in derogatory terms, visual art showing exposed women, or a rape scene on film, each form has an effect in which society views women. By focusing on the treatment of women in film, it is possible to analyze how the majority of people see the role of women in society. With roots dating back to the beginning of the twentieth century, Mexican cinema has a deep history for its people as a form of expression. In the past it has focused on key issues such as the Mexican Revolution, the Massacre at Tlateloco, and the reign of the PRI (Institutional Revolutionary Party), but recently the focus has shifted towards a modern Mexico free from the restrictions made by the PRI.

As a part of the New Mexican Cinema there has been a focus on modern Mexican society facing a variety of issues. One of the most prominent issues addressed in modern cinema is the sexual revolution taking place in the changing Mexican society as illustrated through films such as Alfonso Arau’s Como Agua Por Chocolate (1994), Alejandro González Iñárritu’s Amores Perros (2000), and Alfronso Cuarón’s Y Tu Mamá También (2001). Each film has its own way in capturing the varying social classes within Mexico, yet and each one mixes in sexual tensions as well showing women as insightful and intelligent. While Amores Perros and Como Agua Por Chocolate are more reserved in revealing sexuality, Y Tu Mamá También is a direct expression of the new found freedom of sexuality. It is within these sexual undertones (and sometimes overtones) and criticisms of society that Mexican film-makers reveal the treatment of women in their country. As revealed in these films, the New Mexican cinema portrays women in a position of power; the women in films such as Y Tu Mamá También have a significant role in the narrative as a person of power and intellect.

Prior to the process of globalization in Mexico, there had been a mistreatment of women existing for centuries which was very well represented in film. The unequal position of women in Mexico is traced back to the legend of Malinche, an indigenous Mexican who translated for Hernán Cortés and thus helped him conquer the land from the Mayans and other indigenous groups. Her place in history is “as the perpetrator of Mexico's original sin and as a cultural metaphor for all that is wrong with Mexico” (Krauss). Malinche’s sin has led to a mistrust of women and put them in position to be the scapegoat for the problems faced by the nation. The majority of literature and films from the past have portrayed women in a very negative light; “As Jean Franco has written, women ... are too often projections of Malinche: their actions always lead to betrayal or self-destruction, and they are "the root of all trouble” (Acevedo-Muñoz). Mexican films portraying women in such an unflattering light include the works of directors Ellisa Rashkin and Ana Lopez whom have done little to change the views of women. It is ironic that some of the most notable portrayers of women are by women themselves, yet it is likely the most accurate. Their view of Mexican society on a day to day basis as a woman givers great insight into the necessity to fit in with society’s confines of what a women should do. Strict influences from history (Malinche), the Catholic Church, and a manipulative government have meshed together to create an unforgiving atmosphere for women. The government has turned a blind eye to the numerous sexual abuses, kidnappings, and torturing of women as a result of drug trade within the country. Influences of globalization and modernization such as NAFTA, the end of the PRI, and new laws are helping to change the way of life in the nation. The process is of the revolution that has taken place is mirrored in the film as it is a way to combat this mistreatment; to put the women in control in the film enables women to be powerful in real life.

The tides are changing for the ways in which women are being treated in Mexican film as a result of more attention towards fighting violence as apart of the drive to modernize. By modernizing, Mexico has not only committed to changing its economy, but its culture as well. Their culture is attempting to deter the exploitation of women in favor of a more modern perspective on their rights; they are the equal of men and they deserved to be respected. This change is reflected within recent Mexican films.

In recent Mexican cinema the traditional pattern of women's position and narrative significance has been challenged…. Amores perros and Y tu mamá también have introduced women characters whose presence calls for the need to re-inscribe women's narrative agency and responsibility and have proposed new ways of approaching national identity in the times of globalization and postmodern narratives. (Acevedo-Muñoz)

Cuarón’s Y Tu Mamá También (translates to And Your Mother Too) is the story of two young men, Julio and Tenoch, who have convinced an older woman, Luisa, to take a trip with them to the beach. While both teens have Luisa on their minds, it is in fact her that controls each of them through both her intellect and sexual appeal. The film is much more than a quest for sexual gratification, it is a journey throughout the Mexican country side revealing both the reality of lower class society, but the past relationships, exploits, and feelings of each character. Luisa’s position as the older woman on the trip gives her a great position of power over the men, but she is also the voice of reason that teaches them sex is much more than a quest, but rather something special shared between two individuals. She is the quintessential independent woman that is a reality in twenty-first century Mexico that is able to deal with death, divorce, adultery, and homosexuality.

Due to Luisa’s strong personality, the boys have no choice but to respect her and take her advice throughout the trip. One such example of her power occurs along their journey when the young men fail to realize the true beauty of their trip; “It takes the mediation of Luisa for Julio and Tenoch to "rediscover" the country and themselves” (Acevedo-Muñoz). It is Luisa’s care-free attitude that enlightens the young men to enjoy life for what it is. An example of her position as a sort of all-knowing figure is exemplified by her words, “Life is like the surf, so give yourself away like the sea” (Cuarón). It is through these words that the director reveals a sentiment that women should be respected not only for their beauty and sexuality, but for their knowledge as well. The power of Luisa to serve as the vehicle for Julio and Tenoch to realize the changing Mexican society is one that should not be taken lightly. With the help of an omniscient narrator, she notes the beauties, history, and problems Mexican society faces. At first the boys take these for granted, but through Luisa they learn life is more important than sex, it is a struggle to survive, for equality, and happiness. Although Luisa is the object of their desire, she is treated with the respect her knowledge commands. Luisa is able to enjoy life and not worry about the standards of Mexican society under the previous reign of the PRI. She is in fact an embodiment of the new Mexican woman that must be treated as an equal.

The treatment of Luisa in the film is something that can be seen as revolutionary in comparison to the typical Hollywood film which fails to treat women as much more than an object of desire. While women in American society may be treated the same legally as men, they are still subjected to thousands of cases of sexual harassment, rape, and other forms of sexual abuse. American society may be more modern than that of Mexico, but there is still a struggle to treat women as there equals and ignore any attraction towards them. The cases of sexual abuse in Mexico are slowly shrinking from previous decades, yet there are still many changes that must be made. From 1999 to 2005 Over 6,000 girls and women have been the victim of gender violence (Reyes), but the hope is that from films such as Y Tu Mamá También, that both attitudes and the high crime rates will fall. With the production of more films that transcend the stereo-types about women as objects of sexual desire, Mexican film-makers may be able to contribute to the treatment of women as men’s equals.