Release Year: 2010
Original title: En el cuerpo equivocado
Synopsis:
En el cuerpo equivocado (2010), a documentary directed by Marilyn Solaya, offers a poignant and deeply insightful look into the life of Mavi Susel, a Cuban woman who became the first transgender person in Cuba to undergo sex reassignment surgery in 1988. The film, which premiered in Cuban theaters in 2010, presents Mavi's journey of self-discovery, societal rejection, and eventual acceptance, all while exploring larger issues of gender identity, patriarchy, and the Cuban social landscape.
The film tells the story of Mavi Susel not just as a personal narrative of transition, but as a critical commentary on Cuba’s societal expectations of women. Mavi's transformation is marked by the groundbreaking surgery she underwent at the hands of Cuban medical professionals, an event that had a profound impact on Cuban society at the time. The operation, which occurred on May 22, 1988, made Mavi Susel the first person in Cuba to receive a sex reassignment surgery. The attention this garnered in the media was not entirely positive, and the public response was so negative that it led to a hiatus of nearly 20 years before sex reassignment surgeries would again be made available in the country. The initial backlash came after the Cuban newspaper Juventud Rebelde published an extensive report on Mavi’s surgery, sparking controversy and pushing the Cuban government to halt similar procedures for nearly two decades.
Solaya’s documentary takes the audience far beyond the clinical aspects of Mavi’s physical transition. It delves into the broader implications of gender identity in a society that, while ostensibly progressive in some areas, still maintains traditional, patriarchal views on gender roles. Mavi’s story is a tragic yet empowering reflection on how gender is socially constructed and imposed. She reveals how the patriarchal society she grew up in not only dictated what it meant to be a woman but also restricted her from living as the woman she truly was. Mavi speaks about the internal conflict of wanting to break free from societal norms, yet realizing that her existence was bound by the same oppressive structures she sought to transcend.
Marilyn Solaya, through the lens of her documentary, showcases the multifaceted reality of Mavi’s life post-transition. Even though Mavi succeeded in realizing her identity as a woman, the society around her placed a ceiling on her aspirations. She became an example of the paradox faced by many who break boundaries only to find themselves constrained by new, equally limiting expectations. As Danae Diéguez, a gender studies specialist, points out, Mavi's life after her surgery encapsulates the tension between personal freedom and societal norms. Despite her defiance and her successful transition, Mavi was expected to conform to the traditional role of women in Cuban society, which was largely domestic and centered around the family.
At 49 years old, Mavi, who once dreamed of being a nurse and contributing to society in a public, professional capacity, found herself constrained by the narrow expectations of a "traditional woman" as defined by Cuban culture. She became a housewife, dedicating herself to caring for her elderly mother and husband, which she had not imagined for herself. In the documentary, she reflects on her unfulfilled hopes, lamenting that her desire to contribute meaningfully to society through her work and ambitions could not be fully realized. "I fought for all of this, not just to be a housewife, I had dreams. I thought, 'I'm going to have my marriage, my house, but I'm also going to be useful to society, I’m going to fulfill myself,’ and it didn’t turn out that way," she says. This internal struggle forms the emotional core of En el cuerpo equivocado, revealing the dual burden of gender expectations and the inability to live authentically.
The film addresses some of the most pressing issues related to gender identity and societal acceptance of transgender individuals. At its heart, En el cuerpo equivocado goes beyond the personal story of Mavi and explores the social structures that enforce traditional gender roles, often to the detriment of those who do not fit into these rigid categories. The documentary is not just about Mavi’s surgery but about the broader theme of gender construction in Cuba, where a hegemonic ideal of femininity is pervasive, and the inclusion of trans individuals remains a contentious issue.
Cuba’s evolving stance on transgender rights also plays a significant role in the narrative of the documentary. Mavi’s journey was marked by decades of institutional and social barriers that restricted the visibility and rights of transgender individuals. However, in 2008, the Cuban government, through the Ministry of Public Health, approved a resolution that officially authorized sex reassignment surgeries, signaling a shift in policy. This change was largely influenced by the work of the National Center for Sex Education (CENESEX), led by Mariela Castro, who has been a tireless advocate for LGBT rights in Cuba. CENESEX’s role in advocating for transgender individuals has been instrumental in promoting both legal reforms and public awareness campaigns aimed at reducing discrimination and promoting inclusion.
Despite the progress made in policy, the social acceptance of transgender people remains a complex and evolving issue in Cuba. Public reaction to En el cuerpo equivocado reflects the mixed sentiments in Cuban society. While many viewers at the premiere of the documentary at the Charles Chaplin Cinema in Havana showed empathy and support for Mavi, others, particularly younger audiences, voiced negative opinions. This tension between progressive and conservative views is indicative of the broader challenges faced by transgender people in Cuba and Latin America at large. A particularly poignant moment occurs when a group of teenagers, sitting behind musician Danny Cedeño at the screening, express their distaste for the subject matter. However, Cedeño, who found the documentary to be a courageous and important piece of filmmaking, remarked that "Cuba is maturing when it comes to topics like transgender, homosexuality, and bisexuality."
Despite the positive reception in some circles, En el cuerpo equivocado has yet to be broadcast on Cuban television. The decision to withhold the film from national TV is partly due to lingering homophobic attitudes within the state media apparatus. Sissi García, a trans activist working with CENESEX, pointed out that the lack of television airings reflects ongoing challenges with homophobia in Cuba. She referenced the controversy surrounding the portrayal of lesbian characters in the popular Cuban telenovela Aquí estamos, which had sparked backlash despite featuring scenes of domestic violence, which were presented as “normal” in Cuban media.
In this context, En el cuerpo equivocado serves as both a personal testament and a powerful social critique. Through Mavi Susel’s story, Solaya highlights the struggles faced by transgender individuals in Cuba, while also questioning the narrow definitions of gender imposed by society. The film not only gives voice to Mavi’s unique experience but also opens up a broader conversation about the need for social change, legal protections, and the dismantling of stereotypes surrounding gender and sexuality. It is a call to recognize the dignity of all individuals, regardless of their gender identity, and a reminder that true liberation requires the dismantling of all forms of oppression, including the social constructions of gender.
Trailer:
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