Нағыз әйелдердің қисықтары

2002 comedy drama film by Patricia Cardoso
the play

Real Women Have Curves is a 2002 American comedy drama film directed by Patricia Cardoso, based on the play of the same name by Josefina López, who co authored the screenplay for the film with George LaVoo. The film stars America Ferrera (in her feature film debut) as protagonist Ana García. It gained fame after winning the Audience Award for best dramatic film, and the Special Jury Prize for acting in the 2002 Sundance Film Festival. The film went on to receive the Youth Jury Award at the San Sebastian International Film Festival, the Humanitas Prize, the Imagen Award, and Special Recognition by the National Board of Review. Real Women Have Curves broke many conventions of traditional Hollywood filmmaking and became a landmark in American independent film. According to Entertainment Weekly, it is one of the most influential movies of the 2000s and cast a wide shadow over the new generation of filmmakers to come. The movie is cited for showing the impact a movie could have in the culture and it is acclaimed for its nuanced portrayal of Los Angeles. In 2019, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". It is the first Latina directed film to be inducted into the Registry. In 2021, Forbes reported that a musical adaptation was being developed.

In East Los Angeles, California, 18 year old Ana García, a student at a high school in Beverly Hills, struggles to balance her dream of going to college with family duty and a tough economic situation. While Ana's sister Estela and their father Raúl approve of her ambitions, Ana's mother Carmen resists the idea in favor of Ana helping Estela oversee the small, rundown family owned textile factory, out of her desire to keep her family together and resolve their precarious finances. On her last day of school, Ana's teacher, Mr. Guzman, asks her to consider applying to colleges. Ana explains that her family won't be able to afford it, and remarks that "it's too late anyway". Mr. Guzman disagrees and tells her that he knows the dean of admissions at Columbia University and could possibly have her application looked at, even if it is past the deadline. Ana tells him she will think about it. That night, Ana's family throws her a party to celebrate her graduation. As the night continues, however, Carmen nags Ana about not eating too much cake because of her weight, and emphasizes the need for Ana to get married and have children. Ana's grandfather and father try to defuse the situation, until Carmen begins to discuss the family factory and suggest Ana start work there. Estela protests, saying there isn't enough money to pay Ana, but fails to sway Carmen. Ana interjects that she wants to do something else, but her other job opportunities are limited. At that moment, her high school teacher arrives at the house, and asks to talk to Ana's parents about the possibilities of Ana going to college. Ana's mother is resolute, while Raúl seems open to the idea and assures Ana's teacher that he will think about it, after he initially hesitates to say anything in order to spare Carmen's feelings. Ana reluctantly agrees to work at the factory in the meantime. After some time, Ana tries to get Estela to convince the executive in charge of her clothing line to grant her an advance so she can keep the factory running. When the executive refuses, Ana convinces her father to give Estela a small loan after seeing how hard Estela works to produce clothing she is proud of. Meanwhile, Ana works with Mr. Guzman at night to produce an essay for her application to Columbia, which she successfully submits, while also developing a secret relationship with Jimmy, a white fellow graduate. Carmen confronts Ana about her sexual activities. Ana insists that she as a person is more than what is between her legs, and begins to call her mother out on her emotionally abusive tendencies. Later, at the factory, all of the women working there except Carmen grow exhausted of the heat and Carmen's critiques of their bodies and strip down to their underwear, comparing body shapes, stretch marks, and cellulite, inspiring confidence in one another's bodies. Carmen leaves the factory in a huff over her family and co workers' lack of shame as Ana declares that they are women and this is who they are. Near the end of summer, Mr. Guzman comes by the house to inform Ana and her family that Ana has been accepted to Columbia with a scholarship, though it would mean moving across the country from Los Angeles to New York City. At first, Carmen convinces Ana and the rest of the family that her place is in East Los Angeles, but eventually Ana decides that, having fully ensured Raúl's support, she needs to break free from her domineering mother. At the end of the film, Ana is dropped off at the airport by her father and grandfather while Carmen refuses to leave her room and say goodbye to Ana. The final scenes show Ana striding confidently through the streets of New York.

Real Women Have Curves received positive reviews for its theme of body positivity, its realistic portrayal of a Mexican American family and its acting. The film received an 85% "fresh" rating on Rotten Tomatoes based on 118 reviews, with an average rating of 7.1/10. The site's consensus reads, "Real Women Have Curves, physical as well as emotional and this coming of age story traces them in a vividly warm hearted look at the Mexican American experience." On Metacritic, the film holds a score of 71/100 based on 28 reviews, indicating "generally favorable reviews". Elvis Mitchell of The New York Times described Real Women Have Curves as a "culture clash comic melodrama" that is, "effervescent and satisfying, a crowd pleaser that does not condescend." Jean Oppenheimer of the Dallas Observer wrote "One of the strengths of Real Women Have Curves is that it isn't about just one thing; it is about many things. A coming of age drama centered on a mother daughter conflict, it also explores the immigrant experience; the battle to accept oneself, imperfections and all; and the importance of personal dignity." Claudia Puig of USA Today noted, "What will undoubtedly resound powerfully with audiences of Real Women Have Curves, particularly women, is the film's message that there is beauty in all shapes and sizes." One of the few negative reviews the film received was written by Peter Bradshaw of The Guardian, who gave the film a two star rating.