The Andalusian countryside as a space for reivindication in La Lola se va a los Puertos (Josefina Molina, 1993)

Abstract

La Lola se va a los puertos (Josefina Molina, 1993) is a film whose style and form connect with the folkloric productions made by CIFESA, which were very popular during the first years of the Francoist regime. In these films, the rural space is represented as a place of social harmony, where there is no class struggle, and as a safeguard of traditional values, that turns out to be the essence of Spanish identity. The director, on the contrary, presents a vision of these spaces that completely disrupts what CIFESA proposed. Molina turns the Andalusian cortijo into a place of social struggle, where workers rebel against their bosses, and where we see the faults of this privileged class. Likewise, the subversion of these values of the regime brings upon an Andalusian and, at the same time, feminist discourse, which gives women a greater power in the story.