This article addresses the analysis of the evolution occurring in Latin American feminist cinema with the short films Barbie también puede eStar triste (2002), Pets (2012) and the feature film -defined as lesbo-feminist porn- Las hijas del fuego (2018) by Argentine director Albertina Carri. This process traversed by Carri attempts to overcome what was sustained by feminist film theorist Laura Mulvey (1975) regarding the scopophilic gaze of men and the traditional sexual conception of women in conventional cinema and, specifically, in pornographic cinema.
