Almodóvar Masculinity Analysis

"Making masculinity vulnerable and lingering within that vulnerability allows any set of assumptions about manhood and men to be challenged and allows for new possibilities of what masculinity might come to mean" (Allbritton 232). In Paternity and Pathogens, the author emphasizes the relationship between masculinity and death through an analysis of two of Almodóvar's cinematic productions , Todo Sobre Mi Madre and Hable Con Ella. Allbritton also argues that Almodóvar takes an active role in challenging normative masculinity in both films; his characters represent the fluidity that exists within the male spectrum and in turn, manhood.
Nevertheless, there is not much exploration of the female spectrum in Allbritton's piece and how Almodóvar strives
Her acting career and her relationship with her female co-star, Nina, seem to be her main concern prior to the car accident that will result in the death of Manuela's son. It is not until after this event that she comes into contact with Manuela for the first time and confides in her to help search for Nina in the heart of Barcelona. Huma's sexual orientation is evident when she explains to Manuela how important it is to find her lover; the worry that washes over the actress' face when she is anticipating Nina's return demonstrates how much she cares for her partner, who happens to be addicted to hard drugs. This female character is a slight contrast from Manuela, in terms of relationship status and her romantic/sexual attraction to women, which supports that femininity is not only dedicated to heterosexual females, but also to those who identify with a differing sexual
First, the conversation that ensues between Huma and Manuela during the car ride consists of Huma describing the story behind her stage name. The background music before the search for Nina contains short crescendos of the violin; the intensity and volume increases when both female characters spot Nina with fellow drug addicts. After Manuela walks to Nina in order to get her attention and notify her that Huma is waiting in the car, Nina and Huma make eye contact for a significant amount of time. In addition, the camera depicts a close-up of Huma's face to capture her emotional state, which can be characterized as a mix of disappointment and compassion for Nina. We, the audience, are compelled to feel empathy for Huma as the close-up allows for the possibility of a deeper connection between character and viewer. Most importantly, it is this particular scene in which Almodóvar portrays homosexuality as an additional facet on the feminine spectrum, thus reinstating the fluidity that is