In truth, neither film is interested in disturbing the roles meted out by heteronormal, which is to say, patriarchal, imperatives. Ellen is too old, Sue too fat and working class, and Brenda is frigid. Evidently, a humble chef-hero was not found to resonate in quite the same way as an aristocratic doctor-hero would in terms of patriarchal imperative. Subsequently they are both shot and dumped on the beach. Winston follows Stella to New York and surprises her at the funeral of Delilah — another sign of his preternatural sensitivity.
According to reviewers, it is not a pretty sight. Chubby Sue is a working-class woman from Canada; she has an easier time attracting a lover in Haiti than amongst her male coworkers in the factory. Subsequently they are both shot and dumped on the beach. The film does not, of course, raise the specter of racism, but neither does it worry the issue of class. Winston follows Stella to New York and surprises her at the funeral of Delilah — another sign of his preternatural sensitivity. Warhol and Diane Price Herndl. The novel kills off Delilah before the narrative begins. Heading South both begins and ends in the small, bare-bones airport of Port-au-Prince, Haiti, but it is not a happy place. What Stella needs to do is to recast her life, and she does so under the romantic tutelage of a man young enough to be her son. On the most obvious level, she is cleansed of grief and initiated into a new existential domain, which the film translates as madness. And so Brenda leaves the tourist enclave and makes her way, disheveled and looking a bit off kilter, to a Haitian bar where she makes inquires about Legba. These sequences highlight the separation of Brenda from the brute reality of Haiti, even as she is immersed in it. On the contrary, it tends toward the inane or the embarrassing. The women of Heading South have crossed over into sexual invisibility. The movie begins on a threatening note. None of these characters is like Stella, the shining jewel around which the film revolves. She takes a drink and sits down, attracting the attention of a Haitian man. Rather, it negotiates alterity on the basis of exoticism. And, indeed, he is an object, a beautiful dead thing. Investing that sexuality with a power that, once acknowledged, must then be domesticated or discredited, these films appear to endorse a depressing and retrograde antifeminism. This is third-world space: Hence, her love object needs to be an almost appropriate mate. When Brenda opens the bathroom door, she is briefly nude before wrapping herself in a towel. Evidently, a humble chef-hero was not found to resonate in quite the same way as an aristocratic doctor-hero would in terms of patriarchal imperative. Just as this sequence juxtaposes Judge and the Rasta man, so too does it force the viewer to contemplate the difference between the idealized Stella and the endearing but decidedly funky Delilah who is later killed off with much pathos.
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