Bulletin of Hispanic Studies

Envejecimiento, lesbianismo y heteronormatividad en la película 80 egunean

Bulletin of Hispanic Studies (2017), 94, (10), 1101–1116.

Abstract

En 2010 dos directores vascos, Jon Garaño y Jose Mari Goenaga, estrenaron 80 egunean/ En 80 días, una película que plantea la relación sentimental y sexual entre dos mujeres de setenta años, una abiertamente lesbiana y otra heterosexual casada. El presente artículo tiene como objetivo analizar 80 egunean desde la intersección entre género, sexualidad y edad como aspectos entrelazados y solapados. La relación entre las dos mujeres que forma el foco narrativo tiene lugar espacial y temporalmente en ámbitos muy específicos que remiten simbólicamente, como se verá, a una exploración profunda de la edad, la sexualidad y los papeles de género, e incluso de la familia y de la propia identidad vasca. Asimismo, se estudiará cómo la noción de identidad sexual no se presenta en su cualidad nómada como cabría esperar en una película de temática LGBT, sino como una fija. Por el contrario, la heteronormatividad y la mirada masculina entendidas como las relaciones de poder por medio de las cuales las relaciones heterosexuales se institucionalizan serán las que prevalezcan. Aunque la cinta muestra la ‘normalización’ de la homosexualidad en el paisaje social vasco, no establece un espacio y un tiempo ‘queer’.

In 2010 two Basque directors, Jon Garaño and Jose Mari Goenaga, screened 80 egunean/ For Eighty Days – a film that portrays the emotional and sexual relationship between two 70-year-old women, one openly lesbian and the other married and the mother of an adult daughter. This article analyses 80 egunean from the intersection between gender, sexuality and age as intertwined and overlapping aspects. The relationship between the two women is spatially and temporally placed in a way that refers symbolically to a deeper exploration of age, sexuality and gender – and even the concept of family and Basque identity. This paper also examines how sexual identity is presented as fixed rather than as a nomadic quality, as would be expected in a LGBT-themed film. By contrast, the heteronormativity and the male gaze understood as the hegemonic discourses through which heterosexual relationships are institutionalized will ultimately prevail. Although the film shows the ‘normalization’ of homosexuality in the Basque social landscape, the analysis reveals that it does not offer a queer space and time.

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Medina, Raquel