The second film that is a part of this project’s analysis is Cuatros Lunas, which means “four moons” in English. It is a Mexican film that was released in 2014. The director of the film was Sergio Tovar Velarde. Cuatros Lunas portrays four different generations of Latino men and how they experience love. For example, the film follows the story of two childhood friends (Leo and Fito) who have reunited; they start a relationship that grows complicated when one man is afraid they will get caught. Another story is about the long-term gay relationship of Andrés and Hugo, which is on the rocks because a third man enters the picture. A third storyline is of an eleven year old boy named Mauricio who struggles to hide his feelings towards his male cousin, Oliver. Finally, the fourth story is of an elderly man called Joaquín Cobo, who is infatuated with a young male prostitute. Cuatros Lunas illustrates the conflicts and fears surrounding love experienced by LGBTQ Latinos.

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As the four narratives progress, the film depicts many important themes that demonstrate the internal struggles and microaggressions that LGBTQ Latinos experience. An important theme that the film touches on is religion, particularly that of Catholicism. In a 2012 study conducted by researchers with the Pew Research Center, “62% of U.S. Hispanics identified as Catholic,” which is three-in-five participants (Taylor). Catholicism is a very important tradition and belief for in Latino culture although it is not adopted by all Latinos. In Cuatro Lunas, audience members witness how Catholicism influences the young character Mauricio as he discovers his sexuality. Mauricio is eleven years old; it is clear in the film that he is struggling with his sexuality as he realizes that he has a crush on his male cousin. Mauricio is hesitant to tell anyone that he is attracted to another male in fear that others—especially his father—will be upset and frustrated. Overwhelmed and confused, one day Mauricio visits a Catholic church and attends confession.

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During his confession, Mauricio thinks he is a bad person says because he thinks he has done something really bad that will “hurt Jesus a lot” (Cuatro Lunas). Then, Mauricio asks the priest if homosexuality is a sin. The priest responds by telling him not to worry and claims “how could you be homosexual?” (Cuatro Lunas). In this moment, the priest does not even allow for the opportunity that he could be gay. Thus, he not only rejects Mauricio’s feelings but he also indicates that being homosexual is not an option. The priest ultimately clarifies that it is a “grave sin” to be gay (Cuatro Lunas).

 

Because religion—in this case Catholicism—is very much ingrained in Latino culture, it justifies the norms as well as influences the attitudes towards those who do not align with the norm. Catholicism is very much a part of Latino culture, whether or not a person identifies as Catholic. It is unclear if Mauricio identifies as Catholic because he never explicitly states that he is; over the course of the film, it is suggested that his family is Catholic, especially considering that he visited a priest who knew his name. Mauricio an adolescent boy who's struggling to understand his sexuality, and it's possible he's also confused about his religion since he questions if it's wrong to be gay.

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Furthermore, the significant presence of Catholicism in Latino culture influences the identity of Latinos in various ways, including gender and sexuality; while some individuals may have a positive (or even neutral) experience with religion, this does not impact all members in the same way. Omar Martínez and Brian Dodge explore how Catholicism influences traditional norms and expectations. For instance, they claim that “Catholicism was strengthened” during the first half of the twentieth century “and used to ratify traditional gender roles” (Martínez et al 229).

 

This development ultimately had a huge impact on the LGBTQ Latino community because of the heavy influence of Catholicism. In Cuatro Lunas, Mauricio felt very constricted because his family was Catholic yet he did not fulfill traditional gender roles considering that he was attracted to men. Furthermore, when the priest emphasized that homosexuality was wrong and when his father reacted poorly to the news, Mauricio is presented with this hegemonic narrative that is supported (in some ways and by some people) through religion.

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For example, Nicholas Lawrence, the author of an article titled “Latinx LGBTQ and the Post-Orlando World,” explores the experiences of LGBTQ+ Latinos in regards to their experiences with religion and microaggressions. Lawrence goes on to note how LGBTQ Latinos are hesitant to express their identity because of how sexuality, especially male sexuality, are viewed within the Latino community. In the article, the Lawrence discusses how the “dehumanization of queer people of color via racism and homophobia” influences the lives of people of color and the LGBTQ community ("Latinx LGBTQ+ and the Post-Orlando World"). Marginalization develops from the ways that the media represents people of color and the LGBTQ community.

 

According Lawrence, the media represents people of color “are vilified and dehumanized in our public discourse,” which is reflected in the media including films ("Latinx LGBTQ+ and the Post-Orlando World"). In some instances, the author of this article claims that members of LGBTQ community are perceived by some as “perverts and predators” ("Latinx LGBTQ+ and the Post-Orlando World"); this is form of marginalization that poorly represents an entire group. However, the marginalization of LGBTQ Latinos does not just happen because outsiders operate based on misrepresentations. It can also happen within communities. A form of marginalization that exists within the Latino community is that it is stereotypically homophobic ("Latinx LGBTQ+ and the Post-Orlando World").

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This specific form of marginalization is reflected in Cuatro Lunas. For example, when Mauricio’s family learns about what happened with his cousin, his father reacts fiercely. He clearly shows that he is frustrated and disappointed that his son is attracted to men. Mauricio’s father walks out of the principal’s office without saying a word to his son but not before sighing. During the last thirty minutes of the film, Mauricio is very ill because of the mental strain that he exerts onto himself; he is embarrassed that his parents and cousin’s parents know what happened.

 

In addition, he is heartbroken because his father is so angry at him and does not act accepting or loving towards him despite his own anger. His father’s negative behavior illustrates how some LGBTQ individuals are marginalized, even with the Latino community. This strained relationship between loved ones illustrates how some LGBTQ Latinos do not feel comfortable coming out because they fear they will be marginalized by the ones they care about most.

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Another example of internal marginalization is demonstrated in an interaction between Leo and his mother. Leo is one of the reconnecting friends; he is more comfortable with his budding romantic relationship with his childhood friend, Fito whereas Fito does not want anyone to know. Leo deals with this marginalization when he attempts to come out to his mother at her house forty-five minutes into the film. In this scene, he asks her to turn down the volume when the commercials are on because he needs to tell her something important. From his body language and recent interaction with Fito, it appears that he wants to tell her that he is in a relationship with another man. His mother’s behavior indicates that she knows what he plans to tell her; this is clear because Leo must remind her to turn the volume down when the commercials air because it is as if she is trying to avoid the situation.

 

Finally, she does turn the volume down. Leo begins by claiming that he has been thinking a lot about this because he is frightened to tell her and saying that it bothers him that there are things he cannot talk with her about (Cuatro Lunas). His mother interrupts him, ordering him not to talk about it because “there are certain things [she] can’t handle by [herself]” (Cuatro Lunas). She goes on to say that if he tells her, then “she will have to deal with it” (Cuatro Lunas). These statements from his mother are troubling. In this moment, it comes across as though does not want to accept him as gay because of how difficult it would be for her.

 

By refusing to listen to Leo, his mother downplays what he is about to say and strains their relationship by making it harder for him to trust her. Furthermore, she invalidates his identity because she deems it as not important to talk about; Leo’s mother focuses on how difficult it is for her, which also invalidates his struggles and emotions. Her actions in this scene illustrate the marginalization within the Latino community towards those in the LGBTQ community.

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Later in the film, there is a key scene that conveys how it is possible for members of the community to change and interact more positively with LGBTQ Latinos. For instance, there is a touching moment shared between Leo and his mother near the end of the film. This scene is titled “Deception”; it focuses on different problems and moments of betrayal that each pair of men experiences. Throughout the film Leo and Fito’s relationship is a bit rocky because Fito is keen on not letting anyone know they are in a romantic relationship.

 

Fito is insecure about his sexuality and is embarrassed to share this relationship with others. For that reason, it puts a lot of stress on their relationship. In this specific scene, the toll becomes too much and Fito stands Leo up for their date that was supposed to be more luxurious. As the video below shows, Leo is very heartbroken because he has been stood up by the man he loves. To the audience’s surprise, his mother consoles him and comforts him like the audience might expect a caring mother to; she assures Leo that she loves him for him and that he will find the right person someday (Cuatro Lunas).