ABSTRACT
Despite the complexity, density and high quality of Latin-American writings about gender and sexualities, it has not been given the required attention to the role that cultural products – comic books, travel guides, videogames and commercial films – play in the configuration and perception of the spatial dimension of gender and sexuality. On the other hand, the numerous studies that analyze how much the urban experience is mediated by moving pictures of places and landscapes barely intertwine with issues of gender and sexualities. In order to contribute, albeit modestly, for the filling of those two gaps, this chapter intends to map the Venezuelan movie “Azul y no tan rosa” (“My straight son”, Miguel Ferrari, Venezuela, 2012). The boundaries and the mobilities that limit and perform the relationships, based on homophobia and homoaffectivity, between the characters, as well as the landscapes and the places of Caracas and Merida who gain representation in the film are particularly important to the movie analysis, whose plot unfolds in a contemporary, capitalist and cosmopolitan Venezuela.
