How ‘Familismo’ and ‘Marianismo’ are Challenged in the original film ‘Real Women Have Curves’

For the past couple of decades, Latinos in the media have been underrepresented and given roles that perpetuate harmful stereotypes. The industry has slowly evolved, but there is still much growth and work to be done. “Real Women Have Curves“ was one of the first films to open doors and opportunities for Latinas in Hollywood and promote authentic representation on screen.

Real Women Have Curves is based on a play by Josefina López. The play, published in 1990, was adapted into a movie in 2002 by Patricia Cardoso (it recently was adapted into a Broadway play, which received several Tony nominations). Throughout the film, we are taken on Ana Garcia’s journey as a “first-generation Mexican-American girl trying to find her path and identity through conflicting views with her immigrant parents” (Academy of Motion Picture Arts and Sciences, 2022). Ana’s character is played by the Honduran-American actress, America Ferrera, who was 17 when she received the role in this movie.

Cardoso explained to the Academy, that she had not seen many Latinas in film growing up and there was still a lack of Latina actresses during the time she had begun working. Choosing Ferrera for the main character in this movie was important because she knew she could carry the role and accurately depict the Mexican-American experience. With that, this film does show the struggles and experiences of Mexicans living in Los Angeles during that period. Along with demonstrating those experiences, some of the elements that represent Latinidad in this film are familismo, religion, identity, and cultural expectations. All these intersect, but they are important to the representation of Latina/os in this movie.

In the “Routledge Companion to Latina/o Media,” author Kristin Moran explained that familismo is the “core cultural value that requires the individual to submit to a more collective, family-based form of decision-making, and responsibility for, and obligation to ensuring the well-being of family members” (Cepeda & Moran, 2016). This film demonstrates familismo through the complicated relationship Ana has with her family, especially her traditional Mexican parents.

Aaliyah Español-Rivas, a young editor for the Lowell High School website, reviews the film and reflects on that dynamic by pointing out how Garcia’s character was “expected to submit to her mother and almost had to give up her dreams at the cost of her expected role to provide for her family.” For example, Garcia’s mother, Carmen, insists she will not go to college after graduating high school; instead, she will work at her sister’s business to support the family. Her father isn’t opposed to the idea of her attending school, however, he still goes along with whatever the mother says. Instead of the family making sacrifices to break those traditional values in the household, Garcia has to sacrifice her future and set aside her ambitions. Eventually, Garcia moves to New York, leaving her family behind, which causes even more tension and issues with her mother. This decision that she makes to gain independence from her family breaks the old-fashioned patterns and values Latino families hold.

Building on that idea of adhering to traditions, Real Women Have Curves portrays Latino characters in both a traditional and non-traditional sense. Garcia’s family is like any typical Latino family seen in film, they are religious and hard workers committed to supporting their family.

Carmen is the stereotypical Mexican mother who constantly picks on her youngest daughter and expects the most. She is always making comments about her daughter’s body and attitude, which connects to her being deeply rooted in the concept of marianismo. It’s important to point out the comments Carmen makes about her daughter because Garcia’s character challenges the way Latina women are usually portrayed. Often within movies and TV shows, Latina characters are portrayed “as everything from sexy, sensual, exotic, spicy and fiery to subservient, family-oriented and self-sacrificing” (Routledge, “Reporting on Latino/a/x Communities: A Guide for Journalists,” Puente, 2022). However, Garcia is confident with whom she is and makes it very clear throughout the movie that she does not want to lose weight to gain something out of it. Her striving for independence from her family shows her rejection of societal norms and cultural expectations.

Overall, different sources critiquing Real Women Have Curves allow audiences to have different perspectives on all the elements important to Latinos. The film showcasing the traditional behaviors in Latino households and Garcia’s struggle to fight those behaviors gives a new outlook on Latinidad.

Even film critic Roger Ebert agreed that this film was a “breath of common sense and fresh air” (Ebert, 2002). It’s refreshing to see an accurate portrayal of Latinos in film, where the characters and their complex identities aren’t completely reduced to a stereotype. This film carries a message that allows audiences to resonate and connect their personal experiences to the story, which in the end shows why it’s important to have authentic Latino representation in the industry.

Luisa Segura, a junior Spanish and English double major at the University of Nevada, Reno (UNR), contributed this article to Noticiero Móvil.

This commentary is part of the “Latinos in the Eyes of the Media” special series. In this section, Noticiero Móvil publishes pieces by UNR students that dive into films and television shows in which Latino characters, culture and norms are portrayed. The goal is to explore and illuminate how a lack of Latino representation in the media continues to promote some of the discriminatory and stereotypical practices that affect Latinos to this day in the U.S.