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Tamara Tenenbaum breaks up with “love”, which perceives loneliness as a shame

“It is still difficult for us to think that loneliness is not a state of anxiety, a state of emotional lack, from which we must get out as soon as possible. You can enjoy it for a while, but there is always a discount time and so on. So as the years go by and it becomes more tangible “pathetic old man The idea of ​​a woman. This is just one of the bright, clear and realistic depictions that Tamara Tenenbaum has put into Love’s End in 2021. Love and Hell in the 21st Century (Seix Barral). a book in which he began from his own life growing up in the Orthodox Jewish community of Buenos Aires; To analyze, taking into account all possible aspects, what happens when marriage ceases to be a life goal, as it was for previous generations.

The Value of Friendship, condemns the representation of rupture as failure, the corsets (literal and metaphorical) imposed by patriarchy and capitalism; And the culture of consent is among the themes that make up her text, which premieres this Friday, Nov. 4, as a series on Amazon Prime Video. The writer and journalist was involved in the project as an executive producer along with Erika Halvorsen, Leticia Dolera – the director of the first two episodes – and Lali Esposito, the protagonist of the fiction. The title, which starts out poignant, provocative and funny, is largely due to the sheer charisma of the actor who plays the main character; And for the ingenuity and intelligence that permeates his scripts.

“Most of the choices, loneliness is a condition of life,” the author asserts, “Most likely, you will have a partner for a while in life and then you will be alone. You better know how to live with it. Like it more or less.” The series begins at this moment and introduces Tamara, its protagonist , a pop-culture philosopher who decides to leave her boyfriend, with whom she seems to have an idyllic relationship, to rebel against the traditional concept of romance, as she had previously done with her religious life. Dolera, for her part, assures this newspaper that the reason she took on the project It was that this woman “faces her inner contradiction with fear, vertigo, and courage. Because it is courage to face each other’s shadows”.

“Tamara is a feminist philosopher who writes articles, works on the radio and teaches, who talks about women’s freedom. But then in life she doesn’t feel free, she doesn’t really know why. In search of it. Freedom is where she matures,” Perfect promotes The creator of Life, Tenenbaum, points to the “responsibilities” that this process entails. “If I want a fairer world, it will not only depend on being granted more freedoms, but on taking responsibility for them. I will not blame anyone if I use them badly.” He defends, “I hope people will see that they are. Games and worries, not trying to teach someone moral lessons.”

During the gestation period of the series, the writer had a clear advantage: “As my story, I could more or less do what I wanted.” Therefore, for him, the freedom he felt in the process of creating the title was based on “working in a world that I know, that I understand well, that I’ve lived in and where I know that I have corners. others do not. A person cannot learn in two weeks what I have learned in 12 years of my life.”

This circumstance was central to the discussion of one of the main themes of the fiction: the orthodox Jewish religion. In the first part of the series, Tamara doubts whether to accept an invitation to an old school friend’s wedding, because it means reconnecting with a group of people she hasn’t seen in a long time. A life with which he decided to break up a long time ago. The title uses this contrast to create humorous moments that manage not to fall into the literature.

Dolera explains that working on the tone was easy for him because he had Jews on the team, both in the writing of the script and in the shooting itself, where there was a rabbi in the scenes shot in the church: “It was critical. Religion, the series is respectful and also self-respecting. It is told from a feminist perspective, but not because it respects religion, so it decides its ideology.”

Another big difference Tenenbaum encountered when he left the society he was born into was the reluctance to talk about money. A situation they took advantage of when translating their book to the small screen with a poignant scene in which the main character, complete with live radio, directly asks his partner how much money he makes. The answer is a blushing and nervous laugh. He insists because he is oblivious to the negativity that comes from talking about the income level that so conditions the everyday. “I’m from a shopping district where people talk about money in a way that doesn’t exist beyond it. People are embarrassed to talk about it, not only about how much they earn, but also about how much it’s worth,” shared Argentina.

A restraint that he finds bloodier as he learns the workings of the cultural world. “It’s even worse, it’s impossible to live with art, only the upper bourgeoisie or someone who is very lucky can do it,” he laments.

While looking for a new apartment, a real estate agent scolds Tamara that “the history of women fits.” A young woman claims that if she is forced to give up a good apartment, it is not because she believes she deserves to live in a worse house, but because she cannot afford it. “The crossing of generations is interesting,” the writer claims, describing the hero’s group of friends as “a generation of girls who don’t settle for anything. Is this a recipe for unhappiness? Maybe. They’re always looking for happiness, which is what it is. It’s becoming more and more demanding, but there’s no turning back.” is”.

At the same time, it has a lot to do with the title of the book and the series: The End of Love. “What it boils down to is the idea that the purpose of a woman’s life is to find a partner, and that everything else is subsidiary to that. And if he cannot find it in the terms in which it is to be found, it is. Doomed to misfortune,” Tenenbaum asserts, “love is no longer the only meaning, nor is it an obligation.” “New terms have to be negotiated,” he comments on the process, in which he warns there are still steps to be taken. “Girl groups still spend more time talking about the guy we’re dating than the other way around,” she says.

The writer states that this evolution is partly due to age. “Fortunately, the 30s are more generous than the 20s in that way,” she says of opening her mind if her friends are “talented, intelligent, beautiful girls with interests. So why are we going to spend all day talking about types?” The combative and profane tone in which the author answers aloud is identical to the tone he uses in the book to shed light on the world of love and suggest that something better can emerge from the ashes of romantic love. Men are more free and women.

Dolera emphasizes the importance of telling it all. “We watch movies and read books not only to entertain ourselves, but to find ourselves or to find answers and ways,” he emphasizes, “so it’s important that the story is varied, because it will ultimately build you up whether you want it or not. No.”

“There’s something about chaos that I like,” Tamara admits at a certain point early in the series. The reflection that comes out of his gut as he looks at the camera and is appreciated for the sincerity with which he conveys it. This is something he has already addressed in the text, taking a series of teenage photos of New Yorker Justin Carland as a reference. Two friends in an alley behind a huge toy store with a bottle in a paper bag and three young people talking in a school bathroom while one smokes are collected in these images.

“Everything in the energy of those intrepid girls belonged to the same feminism as those who today take pictures of their breasts on Instagram and cover their nipples so as not to be downloaded from the application,” says the journalist. The protagonists appear in situations that Tenenbaum explains would normally belong to men. “Trying to pee on the trails, in the mountains, in the middle of the mountain,” just to name a few examples. “A woman who is out of control, according to common sense, is a spoiled woman,” writes the journalist, “and a spoiled woman, unlike a spoiled woman, is not an object of desire: she is pitiable.”

Tamara of the TV series would fit this -not- “broken” template. It is not clear what it wants, it does not arouse security and does not seek it, it finds its place in chaos, does not want to please and has fun. In this strong, sometimes uncomfortable and enriching contradiction that it experiences, El fin del amor offers us “a laugh at everything, but not from a position of superiority.” Rather, the title’s strength is that it respectfully addresses doubts, mistakes, successes, and grays.

It creates an environment that allows you to understand that new contexts can be created. Tenenbaum argues that “everything is yet to be written,” and therefore writing the future involves the responsible acceptance of freedom, “desire, and bonds of care.” His suggestion is to try it by inviting yourself to enjoy all the colors of the chromatic range. “Learning, seeing and loving diversity without reducing it to a never-ending sameness is the key to everything,” he concludes.

Source: El Diario





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