Screening of NOBODY'S WIFE at Cinema Rediscovered

GET YOUR TICKETS HERE: https://www.watershed.co.uk/whatson/13383/uk-premiere-seora-de-nadie-nobodys-wife

After a series of remarkable screenings at Ciné Lumière in London, Cinema Mentiré brings to Bristol Daring to Dare: The Films of María Luisa Bemberg, a retrospective of trailblazing Argentinian filmmaker María Luisa Bemberg (1922-1995), celebrating her extraordinary legacy on the 30th anniversary of her passing.

Bemberg’s work was a revelation compared to the cinema made in Argentina and Latin America at the time, both for its formal characteristics (how she worked with film genres, especially the melodrama) and for its thematic and political issues, addressing feminist demands centred on women’s autonomy. She confronted official accounts and what seemed to be established truths, forging a genealogy in which women were inscribed in a history that recognised their work, struggles, and achievements.

The programme at the Watershed will include the UK premieres of the of the new restorations of Nobody's Wife (1982), where a woman reclaims her identity beyond marriage and convention, and I, the Worst of All (1990), based on the life of Sister Juana Inés de la Cruz, a defiant and brilliant nun that challenges power with poetry in colonial Mexico. The screenings are part of Cinema Rediscovered, which runs from 23 to 27 July at the Watershed with great films back on the big screen.

📅 25 July, 11.20am + Intro by Amina Ferley Yael

NOBODY'S WIFE (1982, 90min)

Leonor is an upper-middle-class, committed housewife whose comfortable life falls apart when she learns of her husband’s infidelity. With more fear than conviction, she sets out on a voyage of self-discovery. It is an act born of integrity, a refusal to live a lie, but as her encounters with family and economic institutions reinforce her social non-existence, it becomes a gesture of active resistance. Made under the military regime, the story of Leonor’s move from a family home and a blind life centred on pleasing others to a desire to create a life outside “the system” was dangerously challenging to the symbolic order in place. Bemberg struggled for five years to get her script approved by censors, who saw her criticism extending from family to state, and Leonor as an emblem of rupture.

Take a look at the full programme HERE.

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