During the last decade of the 20th century spectators inside and beyond the borders of Spain saw new ways to experiment with film and to represent the memories and survival strategies of fascism. After a century of constrained and wildly repressed and resisted ways to figure sex, gender, love, and the family, filmmakers like Almodóvar and Medem straddled transnational borders outside of the Peninsula. Other filmmakers straddled these borders inside Spain, navigating histories of repression of regions where citizens did not identify as Spanish (Catalunya, Galicia, the Basque Country, Valencia, Andalucía), where they did not speak Spanish as their mother tongue, and where human beings were simply different.
In this last week of classes we watched a film that experiments beyond Medem’s Lovers with scenarios of escaping fascism and reinventing religiosity. Juan Carlos Medina’s Insensibles / Painless (2014), a fantasia of horror, fantasy, historical memory and ethnic cleansing helps us retrace the various stages of deconstructing Spanish cinema, fascism, and religiosity that we have visited this semester.
For this last blogpost this semester, comment on two other films with which Medina’s Painless dialogues, and how these instances of intertextual dynamics create parodies of fascism and religiosity.