Stereotypes In The Film 'Mosquita Y Mari'

Stereotypes objectify and dehumanize a population at large, which is precisely what happens in much of the Chicana Feminist Movement Literature. These topics are greatly highlighted in the film Mosquita Y Mari. In the movie, two teenagers, who live in a transitional or not well-established Latino neighborhood in the city of LA depict the coming of age of two high school teenagers with immigrant parents named Yoland, also referred to as Mosquita by Mari the other main character in the movie. Within the movie, Yolanda and Mari begin to find their identity enclosed by these deeply rooted social systems, expectations from interpersonal relationships, as well as societal relationships that are featured in the academic and communal communities. As

This is perfectly demonstrated throughout the movie between the two main characters, Yolanda and Mari. Further in the movie, especially in the second half, this can be distinguished more when Mari and Yolanda become very close and jealousy begins to arise due to the facades that both women put on in order not to be judged by their family and/or peers. Both characters have come from different backgrounds which gives the audience members insight into two perspectives of the immigrant experiences, one where the child has many pressures to do well in school and provide for their family later in the expected successful academic career, while the other is to help support the family and where the school is not the priority nor may it never be. This pressure can be applied to Yolanda and Mari from their teacher figure, mainly to Yoland, as well as their parents. Mari fights with her mom for finances and Yolanda’s parents work relentlessly for their daughter to have the opportunities they never will have. However, it is in this academic setting where Yoland takes the initiative in starting a friendship, which evolves into something more throughout the

Both Yolanda and Mari, seem to be unsure about these feelings of affection for each other, predominantly so when traditional ideology is very prevailing in the Latino community. One way in which the characters resist these traditional ideologies is by finding an old garage to create a space for themselves and each other. Later in the movie resistance look very unusual, especially when Mari and Yolanda begin to upset each other by flirting with male figures. This begins to bring distance in their relationship. Even though there is slight turmoil they continue to be together, which makes both of their families concerned, thus adding more fuel to the fire to the already distressing feeling between Yolanda and Mari. Later in the movie, out of frustration and desperation, Mari brings a hookup to their secret spot-an old garage. Even though Mari’s intention was to gain financial benefits, Yolanda found them. Deeply hurt, Yolanda ran off and made some decisions that brought her to the top of a building in LA, demonstrating the distance between Mari and Yolanda, symboling their relationship ending and Yolanda’s growth as a queer Chicona woman. Yolanda’s infatuation with Mari is represented through close-ups of Mari’s beautiful body. This theme can connect to a few other Chicana experiences in the queer community. As Ms.Perez expresses through her art, female body empowerment has given her agency to