He notes that the "Berger shot" is an example and an anti-example of the Male Gaze, and can be included in the "queer gaze". Severiche also writes that director Marco Berger uses cinematographic techniques that result in "a (homo)erotization of the cinematographic image that intends to break the consolidation of heteronormative conceptions of sexuality" these techniques include what he refers to as the "Berger shot" - "shots that depict a young man's crotch". I could spend a half an hour looking at his arm or even smelling him." - Marco Berger If I see a man in a cafe and I look at his arm and maybe it's very blonde and very hairy. No one films the male body the way Jarman did or Fassbinder did, like it's art: faces, butts, dicks or just the beard shot very carefully. "Some gay directors today focus on the obvious, like muscle or party boys or on women like Almodóvar. Brackes reflects that "Coca is such a whore that she becomes a lesbian, a revolutionary and almost militant idea about the oppressed condition of women." "Berger shot" The idea of critiquing society by empowering characters through queer narratives had been mentioned by Lucía Brackes of Los Andes in 2012, in discussion of the much older 1969 Fuego. One way in which this is achieved is the presentation of how the protagonists discover their sexuality, without self-imposing heterosexuality onto themselves or each other. In his 2016 article, Guillermo Abel Severiche also positions queer Argentine cinema as " desire as a means to defy a discourse of power", referring to Plan B when he asserts that "the construction of a (homo)erotic sexual tension questions the validity of sexual categories and/or their very existence", breaking a fixed cultural construct.
Galt argues that "queer textuality provides a radical mode of articulating economic refusal", that the extra queer narrative is further subversive against crisis in ways not occupied by NAC, precipitated by creative and cultural differences between queer cinema and other modes of filmmaking. Rosalind Galt proposes that though new queer Argentine cinema and New Argentine Cinema (NAC) occupy the same time period, they may be distinct that queer cinema is excluded from the discussion of NAC and "crisis cinema". Analysis Homosexuality as social commentary