Hollywood plastic surgeon reveals the celebs who he thinks have had wonky surgery secretly corrected Manuela initially begins to take over Nina’s role and becomes Huma’s assistant, and even begins to play in Streetcar. However, this does not continue and she offers that position to Agrado. Huma and Agrado form a relationship and as the film progresses both appear to be increasingly happy with one another and both slowly transform and become womanly and attractive. But our expectations are jarred all the time, even at the very end. Manuela, the natural woman and mother, visits her friends Agrado and Huma and comments to Huma that she is looking very attractive with her new hair. Huma says ‘Oh no, it’s only a wig’ and at one point Manuela makes a slight adjustment to Huma’s earring. I think we are being reminded again and again that Huma, like Agrado, still is the imitation of the real thing, is still trying to be authentic but is not. Intrusive identification as a mode of being a person is characterised by this confusion between outer form and inner substance.

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Huma Rojo is the only major character in the film for whom acting is a profession. She is introduced with a huge poster outside the theatre. Under this poster, Manuela is waiting for her son. Then we see her in flesh, on the stage, playing Blanche. Huma not only plays her characters, but she is living through them. For instance, in the first half of the film, Huma, like Blanche, lives in dreams and illusions. She started smoking imitating Bette Davis and then it turned into her stage name (Huma means ‘smoke’). She speaks through quotes or periphrases from plays: “I have always relied on the kindness of strangers”—she repeats Blanche’s remark; later there is a whole scene in the car where she’s talking about smoke being all that is real in her life, and about the vanity of the success on the stage. It reminds me of the similar dialogue between Margo and Karen in All About Eve.

It is a universal that all human beings live in a culture and every culture has its own way of dealing with the difference between male and female, between child and parent, between mother and father. The post-modern insights are correct in alerting us to the great variety of cultural forms that these universals can take, and that we can be quite unconscious of our own cultural relativities and consider them norms or givens that require no further enquiry or explanation. The Oedipal situation in development embodies these universals. Boy-child and girl-child stand in relation to mother and father and these differences need to be integrated one way or another.