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This research aims to explain the gender trouble present in contemporary Brazilian cinema. For that,an analysis will be realized and, after, a découpage of the movie Love for Sale (2006), directed by Karim Aïnouz,being the focus of these steps the construction or deconstruction of the image of the main personage toHermila/Suely and of the others women present in the movie that live in the city Iguatu in the countryside ofCeará. In addition, the theoretical approach will be made through the dialogue-clash between feminists JudithButler and Laura Mulvey, for which the respective works will be used Gender Trouble: Feminism and Subversionof Identity (2016) and Visual Pleasure and Narrative Cinema (2011). It is about making an approximation offeminist theories and studies of genre with Brazilian contemporary cinema. The movie Love for Sale has as maincharacter Hermila (also known as Suely), who returns from São Paulo, with her little son, to the city of Iguatu.She stays at her grandmother's house while waiting for the return of her son's father, but the days go by and hedoes not return, so she finds herself abandoned by him. Underemployed and in search of life improvements,she has a plan to redo: to rifle her body with the promise of "a night in paradise". Therefore, a reflection on therepresentation of the body of Hermila in relation to: a) the roles imposed on her - mother and partner -, b) thebody of the others women - the grandmother, the aunt and the friend -, c) The body of the men - the partner andstrangers with whom she accidentally crosses or with whom she relates to sell the raffle, in which she is the prize-, d) the city where she circulates, the city where she circulated and that only appears metaphorically in the filmthrough the gas station and e) to herself when it becomes Suely. The idea of the work is to bring thisconfrontation between the feminine and the masculine, that is, the way it is constructed between the framingof the movie, which has a male director, and the female body, especially that of Hermila. The clash is then placedbeyond the feminine and masculine look, the question that, following Butler's studies, is how the body and thefemale character are built by a status quo that is fundamentally patriarchal, of which Aïnouz is a part. Thus, theresult of this research is an effort to unlink the main character of the narrative structure that places it within aframe delimited by the male director's look, in other words, it is an attempt to show another way of thinking theimage of women in the cinema through "structures, acts, gestures, and bodily representations," as Butler says.