Hacer visibles a las trabajadoras domésticas: estrategias cinematográficas en "Reimon" (Rodrigo Moreno, 2014) y "Parque vía" (Enrique Rivero, 2004)

Abstract

Domestic workers have traditionally occupied a secondary role in films and other fictional narratives, a circumstance that coincides with the neglect that this group has suffered in the Social Sciences as a whole. In the case of film fiction, these characters have imperceptibly, almost invisibly, carried out tasks aimed at the well-being of their employers and the protagonists of the stories. However, in more recent Latin American production, there has been a notable interest in intimate, everyday stories and domestic spaces, which has led to an increasing focus on domestic workers as prominent secondary characters and even protagonists.

This article analyses the narrative and formal strategies of two key films: Reimon (Rodrigo Moreno, 2014) and Parque vía (Enrique Rivero, 2008) and the way in which they visualise these workers in their particular contexts, the spaces they inhabit or pass through and their relationship with their employers, while problematising the very question of representation. Both films accompany Ramona and Beto in their daily journeys and in their work: the stories, characters, aesthetics and times of both are symptomatic of the cinema of their time and of the increasingly visible and central place that domestic workers occupy in contemporary and Latin American cinema.