Director, writer, producer, curator. Born in Chile and trained at Concordia, SFU and the CFC, Vancouver-based Morgado made a dozen short films since coming to Canada in 1986, all but one on celluloid, which, according to Elena Feder, “evince a quest for a language with which to manifest multiple marginalized desires.” Morgado’s prize-winning films established her as “a transfrontera (border crossing) subject with an unabashedly sexually polymorphous Latinø persona” whose use of the typically torchy Spanish love-song forma of the bolero “enables her to displace to a lesbian register forms of masochistic desire that were originally articulated for a heterosexual audience” (2003). A case in point was one of her more ambitious and queer-explicit works, the 1997 Sabor a mí (Savour me) (35mm, 22), a sensuous narrative of voyeurism, flirtation, role playing and lust between a married woman and her butch neighbour, full of painterly tableaus of bodies and furnishings and showered, literally, with petals. Winner of five festival awards, the experimental docudrama Unbound (1994, 19), also evoked painting and presented women of different cultures, races and ideologies—including Morgado—offering their breasts and their cultural meanings of breasts to the camera. Martirio (Sufferance 2000, 19, co-scripted by Aaron Martin [see Schuyler]) is perhaps Morgado’s kinkiest work, a hothouse melodrama of lesbo twin trapezists and paraplegia masquerade.
Vancouver , BC
British Columbia CA