Wednesday, December 8

Almodóvar poster: Mamífera | Opinion

Poster for the next film by Spanish director Pedro Almodóvar 'Parallel Mothers' on a mobile screen.
Poster for the next film by Spanish director Pedro Almodóvar ‘Parallel Mothers’ on a mobile screen.PIERRE-PHILIPPE MARCOU / AFP

My nipples look down because I am 53 years old. They occupy the center of an orange areola crossed by blue veins and tiny moles. My areolas, with their lowered nipples, contract with the cold and the pleasure. Milk has never flowed from my nipples. They are not pierced by a piercing and, after sunbathing in small pools where they force me to cover myself with the top of a bikini and do not allow the “service girls” to bathe, they are like the pupil of an eye whose sclera matches the whiteness of the breast. Just like on the poster Parallel mothers, but without nursing tear. Here I portray my nipples, crestfallen and strabic – very sympathetic -, as a political action against censorship and a call for the massive description of other woman’s nipples. The female bodies are neither dirty nor so beautiful that, in their sacralization, they are transformed into a cryptic host inside the tabernacle. There are women without nipples and bald singers. A woman should never be metonymy: belly, nipple, hair … But we have the right to reinterpret the symbols with which we have been represented secularly. What is obscene is often the cloth and the stud that draws the headquarters of the Government of the morality of the world. The straps that camouflage infantile nipples sexualize girls with their anachronistic modesty. The obscenity is made by the legaña of those who observe with a fear identical to that prohibited by the virginal Zahara poster. Let’s understand it: there are no good and bad nipples – on Instagram they save the intellectual nipples with artistic intent -: there are nipples like there are kneecaps and obscene holes in the nose where the mucus hides. A nipple is so important that it doesn’t matter at all; skimping on it is a way of smuggling it to sell it at a good price. Selling a piece of the female body opens the possibility of speculating with the whole body. Esteso’s nipples are not hidden in Pepito pools.

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The Affair of the Poster Parallel mothers has been resolved, but the question is to analyze who offends what. The far-right homeland redoubles its national-Catholic modesty with the modesty of the Protestant ethic and the spirit of capitalism that makes the semi-nipple scandalous – was she wearing a tape? – of Janet Jackson in the Superbowl. What is obscene is beating a dog, evicting, allowing the very free staff of a nursing home not to be vaccinated, prostituting a girl, keeping in the penal code the crime of derision of religious confession, watering down the milk. Dark owners of the white, masculine, confessional, competitive algorithm, say what have our nipples done to you? Who do you reserve the hypersensitive areolas for? I want to show my nipples on those social networks that, without hypocritical censorship – why delete a nipple and not the propaganda of the Francisco Frankenstein Foundation? -, could learn secrets revealed by my flip-flop mouth and prevent the subversive actions of nipples and others often sad explorations of the anatomy. Almodóvar is wrong in one detail: the algorithm is too human in all that humanity implies of unfair, inquisitorial and amnesiac. This is my body and this is me: you, if you wish, you can keep your tit, but prohibiting the display of the nipples does not protect women from the monster’s gaze, but takes us back to the time of the cincture and the baths with panties .

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