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The goddess of asphalt, between the appreciation and contempt of the public, but not indifferent

During her period of showing in movie theaters, little was said about her. In fact, almost nothing. Social networks were calm with positive or negative reviews of the film. Much had to do with the sanitary restrictions established so that the public decided not to leave the house and see it on the big screen. But now that it has reached Netflix, Troy is on fire! For better and for worse. Opinions about The goddess of asphalt they have fallen into extremes: either they love it, or they hate it.

As of August 11, the date the streaming platform released the film, the reactions have not been long in coming. The truth is that it has not been indifferent, to the extent that a phenomenon similar to that experienced with I’m not here anymore by Fernando Frías when we have the information. From people who value it for the themes that the story portrays to people who consider it a long chapter of The rose of Guadalupe, the comments are opposite but they do not stop.




What is the cause of this polarization of tastes and perceptions? What does The Goddess of Asphalt have to generate such different appraisals? A first point to be discussed is the rapprochement and vindication of popular Mexican cinema that was made in the eighties and early nineties. “With the script of The Goddess of asphalt I saw an open and clear possibility of making a kind of recognition to that cinema. I think there are filmmakers and artisans of that time with many values ​​at various levels to tell the stories. I was interested in citing formal aspects of those directors that interested me, such as Dutch shots, camera in hand ”, comments director Julián Hernández.

Based on this, three aspects emerge to accept or reject the film: the prejudice towards that type of cinema, the taste towards that type of cinema and the ignorance about that type of cinema. In this sense, the director emphasizes that The goddess of asphalt assumes the risk of not falling into the exploitation or easy violence that identified references that you use in this work, such as Stray Dog, City Rats Y Violation; the expectation of one sector was possibly to expect more aggressiveness in the actions of the female characters, especially since it is a gang (Las Castradoras de Santa Fe) that made headlines in tabloid publications for castrating rapists.

“I must admit that it is a very local film, too urban. It is not like my other films that appealed to something much more universal ”, Hernández refers about the spatial distance that people living outside of Mexico City can feel, and even those from the capital who have no affinity with the marginal side of Santa Fe, an area that has been despised since before the luxurious buildings that adorn the periphery existed.



And in that area of ​​urban marginalization, language plays a preponderant role. For the purposes of the acceptance or rejection that exists towards your address regarding the dialogues, Julián shares that he advocated the script one hundred percent, however he admits that he was wrong in neglecting the pronunciation.

“I respected the script of Susana Quiroz and Inés Morales, who were part of the original band of ‘las Castradoras’ and who still speak in the same way today. Maybe there are errors in the intonation, and I can admit that. Some actresses did not dominate it as much as Mabel Cadena and La Carcacha (Nelly González) dominate it, so it took them more work to have that emphasis as it is in reality ”, tells Spoiler about the observations on social networks that the dialogues are heard forced and do not correspond to the neighborhood slang used 40 years ago.

While detractors argue elitism, racism and machismo in their way of showing the five protagonists of the band and their atmospheres, Supporters of the film argue that the work is shaken by showing the violent environments in which the girls grow up, the misery that abounds in the place where they live and the police abuse against them. Hand in hand with this debate, the controversy also points to the castration that is shown on the screen.

“There is a very unique issue that has caused a lot of conflict, castration. It seemed to me an excess, unnecessary, because I preferred violence out of the frame and that it be understood according to the context, but the scriptwriters were annoyed that I did not film that scene. They got angry because they said that without a scene the movie was not the same movie they wrote and they wanted to tell. For them that act was fundamental. I understood it and filmed it ”, need.



Music is not spared from controversy either. Criteria state that it is a bland, soulless, strawberry and silly soundtrack for including Estela Núñez with Tell me. In contrast, music lovers distinguish as a success the inclusion of José José and Baby Bátiz, who appears in the film and was a singer highly idolized by the gangs of those years. “I always liked the voice of Baby Bátiz, she sings impressive. It seemed to me that it was the opportunity to recognize him. And everyone on set was happy to see her, to hear her ”, qualifies the director.

So, loved or hated, The goddess of asphalt awakens debates on various topics that viewers themselves put on the table, in addition to providing a filmic breadth in Mexico City, a city noted for concentrating most of its stories and productions in neighborhoods such as Condesa and Roma, that is, places that do not “ugly” the city or its inhabitants.



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