The femininity, as we know, is more likely to be hit by the existence of motherhood. A decisive state of being, which defines the narrowing of gender roles and the anticipation of having to become a “mother” due to biological restrictions, is the core of social conditioning, which is exposed to the female gender base at a young age. This leads to a survey as to whether there is a state of motherhood that is not only limited to biological restrictions – one that can be a question of choice and crosses the biological limits.
In his film in 1999, Pedro Almodóvar navigates these uncertain restrictions and revelations, which causes motherhood to explore the role of the “mother”, which beyond the birth of the “mother” and its effects on the position of the role of “mother”. The role of the mother is initially introduced by Manuela’s character, a professional nurse who loses her only family, her son Esteban. Esteban will learn more about his father in the earlier scenes, which significantly implies that Manuela avoided discussing the topic.
Shortly after his death, which was in the role of the mother affected by grief, her wish to fulfill her son’s wish drags down to Barcelona, where he was created to find his father. This leads to a network of interconnected realizations and family intimacy in people with whom it combines both new relationships and with whom they form new relationships. Manuela, in her position as mourning, single mother, tries to regain her life, which leads to a non -normative picture of a mother to try to let go of her grief.
Since the patriarchal motherhood includes all -encompassing self -sacrifice, Manuela’s refusal to take care of her life (although it also exists) to make it susceptible to patriarchal criticism. Almodóvar initiates the strand of non -standardativity and dissent through it and leads to the next thread.
Selected family: Win in the middle of the loss in everything about my mother
Esteban’s death is undoubtedly a great loss against Manuela; It does not quite become the core of their existence and ironically, even if it is careful, there is an unexpected profit in their lives – a selected family that fills the emptiness if they do not replace it. The mainstream discourse on maternal mourning often frowns the ability of the mother, finally coexisting from the death of her child and healing hier, Manuela functions as a model for this dissent.
Source: Rotten tomatoes
In Manuela’s profit from the family found, she connects again with her old friend Agrado, a transgender sex worker who has seen that is constantly exposed to abuse by her customers. In her care for agrado and in strengthening her abuse, Manuela’s actions underline a different kind of mother who flash in the spirits of fearless sisterhood. The feeling that the act of the mother does not have to be biological by nature and can be a synonym for the authorization of the authorization by Almodóvar by establishing the maternal relationship with not only for care, but also through the ethical question of selected motherhood over a non-biological child.
Beyond the biological limits
The foundation of motherhood, which does not necessarily have to be biological by nature, happens early in the film, but it is the feeling that binds the spirit of history again and again. Relatives make the mother easier and also brings the concept of the ethical decision in terms of motherhood, a decision that is not very relevant in the current times, which makes Almodóvar’s message even more important.
Manuela introduces a nun called sister Rosa through Agrado and soon develops a relationship with her. The three form an intimate bond. Sister Rosa gets into an impaired position when she experiences her pregnancy-a pregnant nun is representative of another non-normative mother figure, the expected diamond of which is supposed to suppress her sexuality.
Neither Manuela nor Agrado let her call her call, and if Rosa discloses them, they act as pillars of the ultimate support, which is committed to the idea of the sisterhood among them. What makes Manuela closer to pink is her solidarity in sharing her biological children the same father. The same person that Manuela was impregnated when she revealed Esteban as the father of Rosa’s child, which has tied together a connected network with shared experiences, which incorporates into the community that often requires motherhood.
However, the identity of the father escapes ambivalence when it turns out that it is actually a man, but a transgender woman named Lola, who was once Manuela’s lover before the transfer and was Rosas Post. The gender identity of the paternal figure calls for the binary file because Lola previously arrives in her task of Manuela and Rosa arrives the father’s absent stereotype and challenges her own gender role and is therefore a somewhat ambiguous “paternal mother”.
Manuela’s show of solidarity to Rosa’s emergency even in her HIV diagnosis shows the figure of a woman whose motherhood is not threatened by the trivial feeling of sexual jealousy of having to share her child’s father with another woman. Her ethical decision to record Rosa’s child posts her death and adopts it as her own, even so far to name him after her late son Esteban, embodies the ideal of motherhood, which is much larger than biological limits.
Agrado’s love and protection for Rosa’s child also typical of the non-biological motherhood and underpins the non-normality that is emphasized as she appears as a transgender sex worker whose mother is no less important than that of Rosa or Manuela. Almodóvar does not put normative mother figures from a HIV-positive nun or a transgender sex worker in a way in which her mother or the ethical decision that makes you easier is not treated as a stigma.
Mwardy frustration and work
Affective Labor comes hand in hand with the condition to express the maternal responsibility. Maternity includes an eternal work that may not be forever of love and can have the same time pain. Manuela’s adoption of Rosa’s son acts as a smooth transition from her role of a nursing worker in the professional area to the role of an affective worker in the domestic area, where she selflessly attracts the child of another than her own and the essence of the mother at the highest.
In Manuela’s acceptance through her love work, however, there is a thematic penetration of the concept of maternal frustration. Manuela’s relentless mother of Rosa’s child requires Rosa’s death. This acts as an ultimate form of maternal frustration for pink when dying during the process of becoming a mother, her work of pain and literally exhausts it.
The mother’s frustration enables the head in the occupation of characters, where the loss of their child is injured, and someone else’s lies in their inability, ever to reproduce a biological reproduction in relation to the “wearing” of the fetus, as is Agrado’s case. All main characters in the film about my mother are biologically female and otherwise undoubtedly act as mothers in the film. However, what connects it is the pain of her maternal frustration and not her motherhood herself. Her motherhood acts as a form of bond, since in all of her cases it mainly comes from a loss point of roots and builds solidarity in the middle of all turbulence.
Imagine motherhood in everything about my mother
In this brilliant undertaking, Almodóvar defines A sensitization to all non -normative forms of motherhood, mother or motherhood as a whole. He reorganizes the existing patriarchal state of motherhood by promoting fluidity and rejecting essentialism. Everything about my mother transfers the traditional limits to limit motherhood to a mere gender or oppressive practice. The impossibility of accepting self-sacrificing is the core of the empire of motherhood- one that penetrates the condition of it. Failure to comply with this often leads to the loss of autonomy and connects it closely to the entire essence of femininity.
Source: IMDB
Almodóvar brings back this idea when it comes to making it his own, in which the different forms are not stigmatized, but canceled in order to normalize them. Everything about my mother is not just a tribute, but a love letter to femininity in which Almodóvar closes the film to the conclusion, which dedicates him out there every woman, in what form or form, which is able to be a mother or to promote the ethos of liquid identity on the summit – “actress, which has played on the actress who has played on the actress.
Maternity in the midst of all her follies has introduced everything about my mother, which makes the condition of motherhood appear more an accessible instrument than a depressing by fighting through the patriarchal forces. A forum opens to increase further discussions in which unconventional approaches are not avoided, which in the end makes a liberating celebration of motherhood and is relevant for this day due to its inclusion of inclusiveness.
