Abstract
This chapter analyzes the Mexican-Brazilian coproduction Sólo Dios sabe (Carlos Bolado, 2006). By mixing allusions to Garcilaso de la Vega’s eclogues, a pre-Raphaelite painting, and William Shakespeare’s Hamlet to create an unorthodox Catholicism, this film proposes to renovate some of the key elements underpinning traditional Mexicanness that seem to have left society without stable references as a result of the neoliberal transformation of Mexico: patriarchal masculinity, the nuclear family, and religion. Through cultural and ideological syncretism, this road film becomes the template for configuring a renewed Mexican identity.
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Oropesa, S. (2016). Lonely Souls in Sólo Dios Sabe by Carlos Bolado: Pastoralism and Syncretic Spirituality in Times of Crisis. In: Garibotto, V., Pérez, J. (eds) The Latin American Road Movie. Global Cinema. Palgrave Macmillan, New York. https://doi.org/10.1057/978-1-137-58093-1_6
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