Nobody's Wife - Senora de nadie 1982

The brilliant opening of Maria Luisa Bemberg’s Senora de nadie, from Argentina, catches Leonor in the shadow of sex. When she sees Fernando in downtown Buenos Aires with his mistress, this couple’s sex becomes more real to her than her own sex with Fernando, because the marital betrayal that has been exposed both exacerbates and vacates her bourgeois sense of self. Sex that Fernando has with his mistress is sex that Leonor herself is not having with him. It makes her feel like nothing. We are not shown Fernando’s face until much later; this reflects Leonor’s wish that Fernando should also feel like nothing.