It’s fascinating to me how ahead of her time Gómez was in the intersectionality of her film’s themes, and watching these after reading the essay by Devyn Spence Benson was greatly helpful in providing historical and artistic context. Although each documentary had its own distinct focus, Gomez never shies away from showing a diverse range of people and how their experiences differ from one another. Of all the Sara Gómez documentaries we watched this week, Mi aporte stuck with me the most. The film begins in the typical didactic fashion of the revolutionary cinema of the time as a news reporter takes mostly positive conformist interviews of women discussing their new roles in the workforce. But through Gomez’ eye, we descend into the more complicated aspects of such a drastically changed society. She shows us a man’s more shallow perspective on the issue of women’s work, followed by an open dialogue between a wide range of women speaking to each other about their individual opinions and experiences at this time. The conversation of gender roles between the women is so topical today, I found the discussion itself more revolutionary than the government mandated changes stated at the beginning of the film. This stark shift reminded me of a quote in the Benson article from Gómez herself where she says, “We [filmmakers] have a vast public, including urban workers, rural campesinos, children and adolescents . . . for them and with them we have to make films without making concessions. Films that touch on their interests. Films that are capable of expressing contradictions.” It is this willingness to express contradictions that makes her work so captivating.