El triunfo de Sodoma, Goyo Anchou, Argentina, 2020

«The bone does not bend, it breaks.» The symbolic skeleton referred to is a term on everyone’s lips: patriarchy. It is not even an ideology, because many ideologies such as capitalism or speciesism can be built upon it. The theme of Anchou’s new film is just that, but what the film itself is is another matter. A documentary about the mutation of the matrix that has ordered History for centuries? A portrait of an imaginary mutant? In this film, divided into chapters with titles as irreverent as they are ingenious, the meeting between two people to have sex (or not) results in a flashback story that gathers together scenes in New Delhi, Hong Kong, Mar del Plata and other cities. This tenuous fiction is just a device for thinking about the current libidinal (dis)order, read as a symptom of a revolutionary atmosphere. Several sequences have an unquestionable documentary value, such as the first few minutes, in which a feminist demonstration in front of a church is observed, in the same manner that all the textures of the film and its chromatic games show an unclassifiable beauty: an aesthetic testimony to our current epoch in progress.

Roger Koza / Copyleft 2021