The author takes genderlect to mean women's discourse in film which is overwhelmingly written by male script-writers. She argues that the myths of women's speech when mediated through popular culture into film, and more specifically when translated across culture, uphold stereotypical myths of femininity ‘against the grain of social change’. Joyce has chosen to focus on the subtitled (SUB) and dubbed (DUB) versions of Pedro Almodóvar's ¡ATAME! (1990) for two reasons. Firstly, Almodóvar continually emphasizes the centrality of language to an understanding to his work. Secondly, the director frequently stresses his love for what is culturally coded as feminine, and it is this centrality of the feminine in all its changing facets and expressed with a marked discourse freedom by the (fe)male characters which poses the greatest challenge to film translation.