Entraña (2021) is the central part of the project "Carne de mi carne" [Flesh of my flesh], a living story where the artist cuts and assembles her closest links. A family video narrative made of theory and personal experiences in which the body is always present, the only thing that changes is the scenery that surrounds us. The artist's grandmother, her cousin, her uncle and of course her brother are the stars of this film in which the boundaries between fiction, essay and documentary are blurred.

In this work, Alcaide attempts to bring down to earth the theory presented by French anthropologist Priscille Touraille. In her controversial book Hommes grands, femmes petites: une évolution coûteuse. Les régimes de genre comme force sélective de l'évolution biologique (2008), the anthropologist explains how, since prehistoric times, men have kept the best pieces of meat for themselves, leaving the less substantial parts for women. Thus, diet could be the cause of the difference in height and size between the two sexes and one of the first traces of the configuration of patriarchy. This premise would imply that patriarchal social constructions are based on a supposed biological superiority that has been inherited from the dawn of civilization to the present day.

The artist's brother, heir to the family business – a butcher's shop – appears in the video as a masculine and patriarchal figure, but also as a young man who tries to confront with few tools the problems of a rural environment that tends to digitalization. Feminism, the rural world and inequality of opportunities are the main themes of this piece halfway between a documentary and a family story. María Alcaide does not simply talk about meat: she tells us about her meat. Of her own experience, of her past, present and future. "Flesh of my flesh" is her story, but at the same time, the story of all of us.