
Requirements to Be a Normal Person
2015

2010
Director
Nacho G. Velilla
Runtime
105 minutes
Average Rating
No ratings yetSynopsis
Eliseo is ugly, lame and single. He hasn't met the woman of his life and has never known love. Nati is ugly, missing a breast and separated. She found the man of her life but, even so, has never experienced true love. Eliseo thinks that the worst of his life is still to come. Nati thinks that the best of her life is still to come. The death of Eliseo's mother reunites them twenty years on in a last chance to find happiness and love. But what happens when the woman of your life is married to your brother
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film follows a traditional romantic structure centered on heteronormative pursuits. There is no explicit evidence of queer identities or subtext within the narrative.
Gender Representation
Nati challenges conventional beauty standards by being a woman missing a breast. This portrayal offers a nuanced look at female agency outside of idealized aesthetic norms.
Racial & Ethnic Diversity
As a Spanish production, the film operates within a specific regional milieu. The narrative focuses on social standing and aesthetics rather than overt racial or ethnic conflict.
Religious & Cultural Diversity
The story critiques social superficiality by centering unattractive characters. It moves toward a subjective understanding of worth while maintaining traditional family and romantic structures.
Disability Representation
The film provides meaningful representation of physical difference. By centering characters with visible differences, it grants agency to those outside the idealized body type.
Strengths
Areas for Improvement
AI Analysis
To Hell With The Ugly subverts the typical romantic comedy trope of physical perfection. By centering characters like Eliseo and Nati, who exist on the margins of social desirability, the film challenges aesthetic hierarchies and the superficiality of social standing. The film succeeds in providing agency to characters with physical differences, avoiding the common pitfall of using such traits merely as punchlines. Nati’s character, in particular, offers a more resilient and nuanced depiction of femininity. However, the film remains anchored in traditional romantic and heteronormative structures. While it critiques aesthetic standards, it does not engage in broader systemic or identity-based political critiques.

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