Ana (America Ferrera) is a smart, beautiful Mexican-American teen, about to graduate from high school in Los Angeles. She would love to go to college, and could get a scholarship with the help of a supportive teacher, Mr. Guzman (George Lopez). Her mother, Carmen (Lupe Ontiveros), has other plans for her daughter. Ana is to join her working in the small dress factory run by Estela (Ingrid Oliu), Ana's sister. It's a sweatshop of sorts, where stylish gowns are designed and hand beaded to sell in upscale department stores and boutiques for hundreds of dollars, and Estela is paid, by the piece, at a rate to barely cover her expenses.
Ana agrees to help out because an employee quits, and Estela faces bankruptcy if she misses a key delivery deadline. Meanwhile, Carmen is so self-absorbed that she believes she is pregnant when she is experiencing the symptoms of menopause.
Ana's parents are first generation Mexican-American immigrants who are reluctant to let her break out of the mold of expected jobs as a landscaper or seamstress. Mr. Guzman points out to Ana's parents that if they could leave a country permanently for a better life, why should Ana not consider leaving the state, for a short period of time, to get an education, which will help the family continue to make more progress?
Ana is comfortable as a full figured young woman, no thanks to her mother, who constantly reminds her that she is not rail thin and ties that to Ana's worth as a woman. Ana's simmering hormones and her budding sexuality lead to the development of a relationship with fellow student Jimmy (Brian Sites), which is a believable and mature transition. She is a young woman who falls in "love," loses her virginity, and moves on, while both parties gain dignity that will shape their lives in a positive manner for future relationships.
As the seamstresses push to finish the crucial dress order in the oppressive heat of the factory, Ana uses her charm and intelligence to show the other voluptuous women that they should enjoy what they see when they look in the mirror.
Possibly the best news in film this year are the ethnic oriented `independent style' movies¾some from Hollywood¾that make you laugh while telling you something you didn't know. "My Big Fat Greek Wedding" would win the peoples Oscar in this category, if there was such a thing. Recently "Barbershop" tapped this vein, and now "Real Women Have Curves" has as well. It's not just a chick flick, nor only about women who have full figures being considered beautiful and sexy.
Intelligently funny, it's the perfect date movie for teens or a family affair with the daughter who won't make the cover of Vogue. It's an opportunity to address sexuality and other coming of age issues.
The relationship within Ana's family elevates "Real Women Have Curves" well beyond the issue of female self-image for women whose dress sizes have two digits. The manipulation by Carmen of her daughter to have her own way shows how the past can hold back the future. The implementation of free will can have you decide between running in place or moving on to new opportunities. The right choices are not necessarily the ones that are the easiest to make.
Soundtrack