摘要：The writer and director Lucía Puenzo expresses herself in two different languages: literary prose and cinematographic narrative. Her work is characterised by a single ethical and aesthetic commitment. She highlights sensitive contemporary issues such as identity, gender, sexuality, marginality and the family, but also ethical concerns around eugenics, migration, exclusion and dangerous social elements. The paper looks at the differences between the novels XXY, El niño pez (The Fish Child) and Wakolda (The German Doctor) and their corresponding films, highlighting Puenzo’s stylistic and aesthetic constants. The notion of identity, the notion of family and different historical perspectives and their representations are analysed in her literary works and their subsequent adaptations in films. A comparative analysis of the literary and film texts help us to see how plotlines have been transposed, observing the differences and the reasons for these differences. She keeps her two creative sides separate and makes significant changes as she adapts the literary original to the film script. Her audiovisual approach is to reduce the plotlines and issues shown in the originals. The value of Puenzo’s artistic production is making visible characters who are on the edges or are socially marginalised, favouring their acceptance and integration in the society.
