Patsy, mi amor, la melancólica evasión de la feminidad mexicana

Patsy, mi amor (1969) could seem like one more of the many films about young people thatwere shot in Mexico in the sixties or go unnoticed as an auteur extravaganza. A deeper look than the a-go-go irreverence and psychedelia, will find an aesthetic subtlety and an intertextual game that border on the excessive. This article does not intend to unfold that referential range, but rather to analyze one of the less obvious dialogues in the film, although with greater interpretative richness: the one established by the protagonist with the women of her own film tradition. To do this, we will analyze how the construction of the character of Patsy operates as a questioning of the classic saint/prostitute binarism, through a melancholic resistance to conventional femininity and eroticism.