You can't film a "Mexico"

In the 1991 Ridley Scott film Thelma and Louise, the film's narrative and aesthetics try to envision a third space in terms of gender. By tweaking and playing with the ideals of man and woman and how the two cross paths. While trying to achieve this by combating the inherent patriarchy the film runs into a problem; just as Thelma and Louise can not escape to the country of Mexico the film can not envision their view of this world and conceive it upon the physical screen.

One of the key moments of the film is when Louise is sitting in the T-Bird convertible as Thelma goes to rob the store. As she sits in the car the film pans over to two older women looking at her. Louise becomes confused and begins to try to put on make-up but rejects it. It is only when Thelma returns do they speed off into the dusty road.

What becomes important here is that Louise is rejecting not only the image of femininity; that its the woman behind the glass, but the patriarchal tools to enforce it. Patriarchy is defined as the dominated ,while, heterosexual male world and how they control the world and its inhabitants. Patriarchy privileges white, heterosexual men and views women not as fellow agents but rather objects as Harlan viewed Thelma. What one does not consider is that the makeup and the old woman enforce the ideas of patriarchy. When Louise tries to put on the make-up she views the woman, who is covered in make-up, as a object preserved behind the glass of the male world.

Yet Thelma and Louise begin to use the tools of patriarchal power against the power. Both begin to gain more male-esque clothing and tools. Both begin to loose their passive stances. Yes they have used violence, but it would cause a physical reaction of regret within the characters such as Louise's vomiting after she shoots Harlan. When they encounter the sexist and objective truck driver they demand he apologize. Upon his leaving and cursing they exact a violent revenge and blow up the truck driver's truck and continue a western movement something akin to the male dominated western genre film.

Yet the Thelma and Louise still feel weighed down by their feminine traits and by the male gaze of film. The infamous kiss as they drive towards their ultimate demise comes under the question of is it a moment of friendly passion or a sexualized lesbian kiss. This is the culmination of the “third area” that Thelma and Louise strives for. It is an ambiguous moment with no realization that leaves the viewer questioning. However it comes wrapped up in the male, patriarchal view for some and thus the film can not achieve a fulfilled “third area.”

For the “third area” to exist Thelma and Louise must make it to Mexico ad yet they can not. The patriarchy, fulfilled by the police army, prevents them in both directions. By their deviance, one deemed by violence and the patriarchy for being objects that deemed to fight back, they can no longer exist.

“Mexico” has become just as unachievable as the old woman in the window. Neither the characters nor the film can figure out what to do besides to keep going. Just as Thelma and Louise have driven off the cliff to a still shot, unfulfilled ending the film has done just the same; their vehicle for the “third area” between feminine and masculine has driven into the canyon and asks the viewer to decide.