“Portrait of Teresa” is a film highlighting the situations women undergo in Cuba. It relates to the Family Code that was passed in the year 1974, which legislated familial life policies that led to the autonomy of women from the double shift and standard lives in the clandestine sphere. This code proposes that men are supposed to be engaged in fifty percent of the family’s responsibilities and childcare whenever their spouses are involved with other duties. From the films perception, women have been empowered and this has made a big difference in the family set up. This is exemplified by Teresa’s mother’s opinion that women will be women while men will be men and even Fidel would not alter that.
This film is simple and straightforward in its presentation as it is shot in a radiance improvisational approach, outlined by its atmosphere of functioning populace and by their predicaments. The film is well planned with outstanding show from Teresa and her influential screen charisma, depending on a particular innate beauty candidly photographed rather than upon a glamorized ambiance. The varying scenes outline a specific importance. The dancing of Teresa with her son brings out the relationship between mother and son. In another scene, Teresa admonishes her mother for not permitting her to link with the literacy crusade yet her sibling brother was allowed. Teresa’s mother supports her actions by stating that she was protecting her from the perils of living among strangers. This exposes the relation between counter radical thoughts and the subsequent mind-sets that intend to hold women in ancient, oppressive duties segregated from the innovative ideals and potential.
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The film portrays television as non-educative since the melodramas manipulate the conventions of behaviour. This is shown when the wrangle between Teresa and her husband accelerates to the extent that he moves out of the house. Furthermore, Teresa continues with her chores without her husband’s contention. Consequently, television purposes to indicate the forces of confrontation that still triumph in the modern society. The interpolation of the portrait of Teresa into the storyline of the movie literates the variance between the women’s confidential troubles and the expired reflection of her appeal. Television is ironically enlisted in this film to deconstruct its customary facade of femininity.
At the end of the film, the centre of interest swings from the relationship between Teresa and her husband to the dual typical life of Cuba with regard to sexual morals. Teresa reprimands her husband over his engagement in extramarital affair but the husband views this situation as a non-issue. The ultimate suggestion of his intransigence and numbness is the fundamental cause of Teresa’s dedication to her novel unmarried status. This film has successfully managed to outline the connection that the film viewers get and their real life experiences. This success has prompted the reconsideration of course in the society.
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