Women Is Losers is 'suffused with the very stereotypes it attempts to dispel,' says nataliakeogan. Distasteful and twee, it won't win over those looking for something new. Her review:
to the matriarchal lineage of first-time writer/director Lissette Feliciano. Just in case this fact would not be made abundantly clear mere minutes into the runtime, the very first frame contains the blatant statement: “Inspired by real women.” Though initially positioning itself as an “inspirational” story that confronts this country’s festering inequality, the film’s eventual assertion that systemic disparity can be overcome by sheer gumption is clichéd and disappointing.
The viewer first meets Celina when she’s in the midst of a fight with her husband Mateo , who himself is being concurrently thrown out by his white trash mistress . The year is 1972, and Celina wastes no time immediately breaking the fourth wall and giving a quick history lesson as to why the nameless woman’s words are actually offensive: “Native Americans had over 300 different dialects,” she preaches with her four-year-old son perched on her hip.
Unfortunately, the women explored in the film—including Celina—are flat to the point of near parody. Her mother is abused and terrorized by her father; her best friend is an unfortunate victim of misogynistic legislation; Celina herself is a single mother who works three jobs for a shot at the “American dream.” These characters also permeate a heteronormative worldview that hinges on the presence of men, if only to saddle women with problems they must valiantly overcome on their own.
ahead of the film’s SXSW premiere: “[My mom] still believes in America…the land of opportunity. She’d want people to believe that, too.”therefore claims that women oscillate between fulfilling the role of martyr or girlboss, depending on their determination to conquer adversity through working themselves to death. In contrast, men are depicted as cartoonishly lazy, evil and inept, mistreating the women in their lives with an almost inhuman contentedness.
Complicating this characterization even further is the gradual thickening of Celina’s accent over time. She speaks in fluent teen-speak English during her tenure at Catholic school, but finds her accent and use of Spanish increasing tenfold after donning the label of “unwed single mother.” This could have been alluded to as a conscious choice of the protagonist, perhaps fueled by a desire to use her parent’s native tongue when raising her own child.
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