Posesiones and the Importance of Pronouns
A look at Sebastián Lelio’s A Fantastic Woman
By JP Linguistics
Sebastían Lelio is a Chilean director known for directing films such as Gloria, Disobedience, and A Fantastic Woman. Each film is a carefully meticulous character study of the societal mistreatment towards women. In Sebastían Lelio’s A Fantastic Woman, the way one addresses another holds significant and lasting weight.
In Lelio’s work, there are always outsiders encroaching onto the female protagonists as they themselves are battling through internal conflicts. In A Fantastic Woman, Marina, played by Chilean trans actress Daniela Vega, is a talented singer who has reached the honeymoon stage in her relationship with Orlando. Nights dancing. Birthday dinners. Spontaneous road trips. Ultimate bliss. All this shifts when her lover, Orlando, who is significantly older, begins to feel sick in the middle of the night. As they rush to the hospital, it’s too late – He’s gone. However, Marina cannot mourn her partner’s loss, as her lover’s family decides that her presence is an offense to them.
Courtesy of Sony Pictures Classic
For Marina, all she wants is to be at her lover’s funeral, but outside elements prevent it from being possible. In the hospital, as she is suffocating under the shock of losing Orlando, a police officer asks to see her I.D. Despite presenting herself as Marina, he insists that her card says otherwise. As he begins to question her, he uses gendered words towards her such as, ‘lo’ and ‘el.’ The doctor barely acknowledges her, and Orlando’s brother is scared to approach her. Lelio makes it a key point that any character that is in direct conflict with Marina undermines her by using the language as their weapon.
Courtesy of Sony Pictures Classic
Newly settled in at Orlando’s apartment, Marina is startled by an uninvited intrusion from Orlando’s son, Bruno. Bruno purposely calls her ‘Marisa’ as he barges in to claim both the apartment and Orlando’s dog, Diabla. As Marina tries to explain that Orlando gave Diabla to her, Bruno doesn’t attempt to correct himself. He spews hateful insults towards her and continues to call her ‘Marisa.’ Marina, played by Chilean trans actress Daniela Vega, stands her ground. Using language as her weapon, Marina claims her name and prepares to fight. She corrects him one last time as a slamming door is met to his face. Names and pronouns become the battleground in this film.
Recognizing the power of language, Marina comes prepared when she has to hand over Orlando’s car to his ex-wife, Sonia. Each time Marina addresses Sonia, she uses usted, a second person pronoun, as a sign of respect and formality. Sonia tells Marina to ‘drop’ the usted, in her attempt to make the conversation light. The conversation, however, is saturated with thick hatred as Sonia forbids her from attending Orlando’s funeral.
Confronted in a cold office lobby, this scene creates a disturbing twist in the use of gendered language. The grammatical gender in Spanish has words that are either masculine or feminine. Many nouns endings in –a are treated as feminine, while words ending in –o are masculine. When conjugating, the grammatical gender la is associated as feminine, while el is masculine. For native speakers, it has always been second nature to conjugate according to someone’s gender identity. In the movie, Marina promises to be discreet at the funeral, but Sonia doesn’t care. As Sonia addresses Marina with feminine pronouns to explain to Marina that as a mother, she has to protect her children. She offends Marina further by promising to compensate her financially for all that she’s done. Marina doesn’t understand how she can prevent her from saying goodbye to someone she loved. This outrages Sonia and her language changes as she uses Marina’s dead-name to drive home the fact that Marina is not welcome at the funeral. A dead-name is the name before she/he/they have transitioned. Marina, fazed yet strong, continues to address Sonia with usted. Even if Sonia can’t respect Marina, Marina will never stoop to her level.
Courtesy of Sony Pictures Classic
Things proceed to get more complicated as Marina returns to Orlando’s apartment to find that Bruno has taken Diabla. His hateful words have turned into impermissible actions. Marina becomes outraged. The film spirals as Marina is wrongfully investigated by the police as she tries to find the whereabouts of both Diabla and Orlando’s funeral. Forget Sonia, it’s Bruno who becomes her ultimate tormentor as she seeks moments of solace in the arms of her sister or by the piano of her voice teacher’s apartment. For that’s one thing that’s been robbed from her – time to mourn her partner’s death. She still sees him everywhere she turns, waiting for her to say her final goodbye.
Despite these heavy moments of sorrow, Lelio finds time to showcase Marina’s beauty. There are glorious glimpses of Marina dancing in a shimmering coat in a neon-lit club. Marina being pushed against a gust of wind as she falls forward, not backwards. Marina staring at her body with absolute love and adoration. And a final glimpse of Marina, on stage, using the thing that matters the most to her – her voice.
Watch It For Yourself!
A Fantastic Woman is a great demonstration of how pronouns can be used and abused to greater extents than one may learn in a classroom. A Fantastic Woman can be purchased online across multiple streaming platforms.