Abstract
Throughout cinema history, family has worked as a narrative source inside the melodramatic genre. The first work directed by Mar Coll, ‘Tres días con la familia’, revolves around gender and generational issues. The film is apparently produced inside the classic mode of the family melodrama when, indeed, it undermines the limits of its own conventions about femininity, motherhood, hysteria and repression. As spectators and since the text emphasizes identity troubles, mainly the femenine, we witness one moment of family changes which has consequences inside the cinematic codes.
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