in 2007, having seen the film Elizabethtown (2005), the film critic Nathan Rabin coined the term Manic Pixie Dream Girl to describe the birth of a type of female protagonists characterised by his Joie de vivre and superficial, creatures that only exist in the febril imagination of tensions-directors, whose sole task is to teach these lone men to embrace life in their mystery and adventure infinites (2007). Since then, although this type of actor has multiplied, and the term has been absorbed by popular culture, there has not been a single academic analysis of this stereotype and its gender ideology, perhaps due to the ideological credibility patch given by the independent cinema (Indie) in which it forms part. However, Manic Pixie Dream Girl, with its nostalgic representation of feminity nested and ‘mona’ (Ngai, 2012), its vulnerability, its neoliberal sexual freedom, and, above all, its ser-para-el-Otro, perhaps constitutes the most powerful embodiment of post-feminist ideologies within independent cinema. His carpe diem philosophy and his hipster aesthetic also talk about the specific idiosyncracy of our era, characterised, according to Slavoj Zizek (1994), by a social mandate towards hedonist enjoyment.