Framework: The Journal of Cinema and Media

Claire Lindsay
Mobility and Modernity in María Novaro's Sin dejar huella
Framework: The Journal of Cinema and Media - Volume 49, Number 2, Fall 2008, pp. 86-105

Wayne State University Press

Project MUSE - Framework: The Journal of Cinema and Media - Mobility and Modernity in María Novaro's Sin dejar huella Project MUSE Journals Framework: The Journal of Cinema and Media Volume 49, Number 2, Fall 2008 Mobility and Modernity in María Novaro's Sin dejar huella Framework: The Journal of Cinema and Media Volume 49, Number 2, Fall 2008 E-ISSN: 1559-7989 Print ISSN: 0306-7661 DOI: 10.1353/frm.0.0022 Mobility and Modernity in María Novaro's Sin dejar huella Claire Lindsay The premiere of Sin dejar huella/Without a Trace (María Novaro, MX, 2000), which charts the journey of two women from the U.S.-Mexico border south to Cancún, provoked immediate comparisons between the Mexican director's road film and British filmmaker Ridley Scott's Thelma and Louise (US, 1991). Notwithstanding the debate following its own release, Scott's feature was credited with offering a pioneering "[re]consideration of Hollywood's road rebel history from a feminine perspective."1 Novaro lamented the correlations made between the two films, however: Los gringos tienen la manía de catalogar una película en función de otra yanqui. En mi medio laboral uno está hasta la coronilla de eso. Es como una cruz a cargar [. . .] Parece que no se puede filmar una película de carretera con dos protagonistas femeninas, porque ya existe Thelma and Louise.2 [The Americans have an obsession with classifying one film in comparison with another Yankee one. In my working environment, we're fed...