AFI FEST REVIEW: Radiant and bold. “Güeros” is a gem crafted by the new and promising generation of Mexican filmmakers.
“Güeros” is a portrait of a confrontational generation we are unaware of, but it allows us to see their existence and purpose in time.
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| Alonso Ruizpalacios, AFI FEST 2014. Photo by Jose Hermosillo, COPYRIGHTS Festival in LA |
Director Alonso Ruizpalacios aimed to create a larger-than-life film that reflects the soul, music, culture, and vibrant youth of Mexico City in the form of a poetic love letter.
“Güeros” shares the style of “Y tú mamá también” and has the fresh look of “Lake Tahoe.”
This unapologetic coming-of-age, hyper-realistic urban road movie has delighted audiences at festivals worldwide, winning Best First Feature at the 2014 Berlin International Film Festival, the New Auteurs Audience Award at AFI FEST 2014 in Los Angeles, and the Havana Film Festival Grand Coral for Best First Work.
“Güeros” has received 12 nominations for the Ariel Awards by the Mexican Academy, winning Best Picture.
The film pays tribute to Truffaut’s “Jules and Jim,” Godard’s “Band of Outsiders,” and Hellman’s “Two-Lane Blacktop.”
The director’s main inspiration was “Los Caifanes/The Outsiders” by Juan Ibañez (1966), one of the greatest independent films in Mexico’s history.
Set in 1999, a fair-skinned teenager named Tomás is sent by his weary, widowed mother from Veracruz to live with his dark-skinned older brother Sombra, played by Tenoch Huerta (“Deficit,” “Days of Grace”), in Mexico City. Sombra struggles with depression and panic attacks. Ironically, the doctor (director’s cameo) suggests a vacation in Veracruz.
Sombra’s roommate, Santos (Leonardo Ortizgris), is also light-skinned and hates being called “güero.”
One of Mexico’s ongoing conflicts is the struggle between “güeros” and “morenos” (light-skinned vs. dark-skinned), a theme discussed in Carlos Reygadas’s “Post Tenebras Lux” and many other Mexican films. The difference is that “Güeros” is more subtle.
Sombra and Santos are students at U.N.A.M. (National Autonomous University of Mexico). The university is closed due to a student strike.
As “outsiders,” they question the movement’s ideology, which conflicts with their own ideas, goals, economy, and the country’s future.
As they witness the chaos on campus, nostalgia is felt for their “Ama Mater.”
The only memory little Tomás has of his father is an audiotape of folk-rock singer Epigmenio Cruz, which he listens to obsessively on his Walkman.
The urban legend says: “Once Epigmenio Cruz made Bob Dylan cry.”
In their quest to find the legendary and mythical singer, a series of unfortunate events pushes them to travel from their old apartment building north of the city to the south, facing the dangers and paranoia of a hostile environment—nothing that a giant bottle of cerveza “Caguama” can’t fix.
At the chaotic university, they meet Ana (Ilse Salas). She is the leader of the student movement and a radio personality at the rebel underground radio station—the same station the guys were listening to earlier in their car.
She needs a break from the conflict and joins them in their search for Epigmenio. The quartet keeps going, traveling from the south of the city to the Chapultepec Zoo to gather more clues. Then, they head to the Zocalo (Mexico City’s downtown), where they experience their “La Dolce Vita” moment at an upscale pool party, where they get into trouble again.
They go from the Centro to their final destination, a cantina in the eastern neighborhood of Texcoco. Inside, the TV plays Juan Gabriel singing “Hasta que te conocí/Until I Met You,” which sets the scene’s climax.
The charismatic actress Ilse Salas delivers a commanding performance. Her fresh looks and big eyes bring to mind Italian actress Giulietta Masina (“Juliet of the Spirits,” “The Nights of Cabiria,” “La Strada”).
Ana fights against misogynistic, macho men shouting at her, insisting they want to see her breasts instead of her leadership.
Young Tomás is played by talented new actor Sebastian Aguirre. He has the strength and heart that allow the audience to see the world through his eyes.
On the other hand, the character of Sombra takes too long to accept the reality of the plot. One can understand his depression and traumas, but a couple of strong speeches are not enough to unlock his full potential.
By cutting a few unnecessary shots, this film could move at a faster pace while maintaining its already artistic black-and-white look.
“Güeros” is a rare Mexican film with global reach, universal emotions, and likable characters. The nostalgic film’s music, poetry, and lyrics hold a deeper meaning behind the story.
The well-written script explores brotherhood, friendship, and the mysterious Ciudad de Mexico, connecting these themes with “Youth in Revolt.”
“Güeros” is not a political statement. It does not support either the left or the right wing. Existentialism is present in the lives of these four compelling characters. They are focused on surviving and finding emotional fulfillment in a vibrant city full of contrasts.
“Güeros” is part of a new wave of diverse Mexican cinema seeking a global audience. Mexico’s film production has increased from 12 to 120 movies a year over the past twelve years—a 100% growth.
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| Film critic Jose Hermosillo and director Alonso Ruizpalacios at AFI FEST 2014. COPYRIGHT Festival in LA |
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