Con el cuerpo prestado | |
---|---|
Directed by | Tulio Demicheli |
Screenplay by | Tulio Demicheli |
Story by | Álvaro de la Iglesia |
Starring |
Sasha Montenegro María Sorté |
Cinematography | Miguel Garzón |
Edited by | Sergio Soto |
Release date |
|
Running time | 95 minutes |
Country | Mexico |
Language | Spanish |
Con el cuerpo prestado (English: "With a Borrowed Body") is a 1983 Mexican fantasy comedy film directed by Tulio Demicheli and starring Sasha Montenegro and María Sorté. [1]
Marta (Montenegro), a woman who tries to commit suicide, is saved by another, Carlota (Sorté), from drowning, but in preventing it Carlota herself dies drowned. After a while, Carlota returns in spirit to take possession of Marta's body and thus meet the man she loved in life.
In her book Sara García: Ícono cinematográfico mexicano, abuela y lesbiana, Ileana Baeza Lope cites the film as one of the exceptions to the tendency in Mexican cinema of "affective relationships between women [being] relegated to the sidelines", while "male camaraderie relationships were in the foreground". [2]
Con el cuerpo prestado | |
---|---|
Directed by | Tulio Demicheli |
Screenplay by | Tulio Demicheli |
Story by | Álvaro de la Iglesia |
Starring |
Sasha Montenegro María Sorté |
Cinematography | Miguel Garzón |
Edited by | Sergio Soto |
Release date |
|
Running time | 95 minutes |
Country | Mexico |
Language | Spanish |
Con el cuerpo prestado (English: "With a Borrowed Body") is a 1983 Mexican fantasy comedy film directed by Tulio Demicheli and starring Sasha Montenegro and María Sorté. [1]
Marta (Montenegro), a woman who tries to commit suicide, is saved by another, Carlota (Sorté), from drowning, but in preventing it Carlota herself dies drowned. After a while, Carlota returns in spirit to take possession of Marta's body and thus meet the man she loved in life.
In her book Sara García: Ícono cinematográfico mexicano, abuela y lesbiana, Ileana Baeza Lope cites the film as one of the exceptions to the tendency in Mexican cinema of "affective relationships between women [being] relegated to the sidelines", while "male camaraderie relationships were in the foreground". [2]