Lola represents the ultimate force of this carnival, disrupting the static, boring morality of the town. 💡 Psychological Dimensions: Shame and Freedom
: Lola refuses to feel guilty for her natural biological drives. Her actions are an assertion of ownership over her own body. Lola represents the ultimate force of this carnival,
: Masetto’s refusal to engage with Lola sexually is framed not as noble, but as a form of psychological and physical repression that frustrates Lola and drives the plot forward. 🏛️ Societal Hypocrisy and the Carnival Atmosphere : Masetto’s refusal to engage with Lola sexually
The film operates on the logic of the "carnivalesque" (a concept by philosopher Mikhail Bakhtin). The strict hierarchy of society is temporarily inverted. A deep reading of Monella cannot ignore the
A deep reading of Monella cannot ignore the psychological journey of its protagonist. Lola is navigating a world that weaponizes to control female autonomy.
The town's authority figures—including the mother, the local fascists, and religious symbols—preach absolute modesty and control. Yet, Brass constantly exposes their double standards. The very people upholding the moral order are shown giving in to their own voyeuristic and repressed urges in private. 2. The Bakhtinian Carnival
The physical body, laughter, and natural impulses are celebrated over abstract intellectual or religious dogmas.