This article is a reading of the Argentine filmmaker María Luisa Bemberg’s work, outlined from the reflections inspired by Michel Foucault’s notion of transgression and Teresa de Lauretis’s notion of excess in her studies on the semiotics of the cinema. This proposed reading enunciates three moments of her filmography that correspond to certain nodal torsions of her look that had been printed in the sequences of her frames. For the analysis of each moment, we have selected a film or a short film that we will analyze in detail in order to discuss each torsion of her lens. The lens become megaphone, the lens become biographic witness, the lens become monstrosity. These are the selected titles for the analysis of each one of these moments.
cinema; transgression; feminism; María Luisa Bemberg