Showing posts with label Ariel. Show all posts
Showing posts with label Ariel. Show all posts

Wednesday, September 13, 2017

Tempestad; is Mexico’s Selection for the 90th Academy Awards

By Jose Alberto Hermosillo
The award-winning documentary “Tempestad” has been chosen the official Mexican submission to the Oscars© for Best Foreign Language Film, 2018.
Tatiana Huezo, filmmaker, © 2017 Pimienta films 
The film directed by talented Salvadorian filmmaker Tatiana Huezo won the Ariel (the Mexican equivalent to the Oscar©) for Best Director, Best Documentary, Best Sound, and was nominated for Best Picture, 2017.

Tatania has been working in Mexico for quite some time. Her reputation as a visionary director has grown notability after her remarkable directorial debut in 2011 with the documentary “The Tiniest Place/El lugar mas pequeño.” In there, Huezo, beautifully detailed the footprints of survivors of El Salvador's civil war in the 1980's.

The Mexican Academy of Arts and Cinematographic Sciences made the announcement of its selection Wednesday morning, detailing that an individual committee composed of 123 voting members viewed 15 pre-selected works choosing "Tempestad."

The other 14 films include this year’s Cannes Un Certain Regard Jury Prize Michel Franco’s “April’s Daughters,” and last year’s Best Director at the Venice Film Festival Amat Escalante for his sexual-extraterrestrial-drama “The Untamed/La región salvaje.”

Other remarkable films on the list were “Nocturno” by Luis Ayhllon which was an official selection of the LA Film Festival, and the beautiful “Moonlight” like nostalgic production “I Dream in Another Language” screened at OUTFEST 2017.

2016 was a prosperous year for Mexican films, including the extensive line-up of outstanding documentaries such as the nostalgic box-office smash “Beauties of the Night/Bellas de Noche.” 

Also, “All Of Me/Llevate mis amores,” a marvelous human portrait of women helping 
the migrants from Central-America with food and first aid, who traveled through Mexico on top of the train named “The Beast/La bestia” on their way to the United States.

Another high-quality documentary was the one about a journalist photographing the chaos in the streets of Mexico, “The Man Who Saw Too Much.”

Finally, the beautifully shot “Plaza de la Soledad” by Maya Goded was also a good candidate.
"Tempestad" still © 2017 Pimienta films 
“Tempestad” is a heart-wrenching documentary that reflects the reality of the human trafficking in a country plagued by the infamous “war on drugs.” The film follows two unrelated storylines of women who are suffering the abuse of an endemic system where prostitution, corruption, bureaucracy, and drug dealing damage their lives.

The film submitted by Mexico has not been the only documentary on the competition. Last year, Italy presented “Fire at Sea” landing a nomination in a different category, Best Documentary Feature. In 2011, the German submission “Pina” by Wim Wenders had the same luck.


Every year, many countries submit documentaries to the Foreign Language Film category, hoping to get a nomination -- if they don’t, at least they have their voices heard in America. Perhaps the Academy will consider a new category: “The Foreign Language Documentary Feature.”
"Tempestad" still © 2017 Pimienta films 
“Tempestad” can qualify in other categories including Best Documentary Feature by getting one week of theatrical release in L.A. and N.Y.


In the past, three Mexican documentaries have been nominated for an Oscar© for Best Documentary Feature, “Torero!” by Carlos Velo, 1956. “The Olympics in Mexico” directed by Alberto Isaac, 1969. And “Promises,” directed by Carlos Bolado, a documentary about the lives of seven children during the Israeli-Palestinian conflict in 2001.

Recently, Mexican films competed in the international festival circuit receiving significant awards, rising in popularity worldwide.

In the Foreign Language Film category, Mexico has been nominated eight times and never won. 

In the last decade, the Mexican submissions have been surrounding the same recurrent themes: the war on drugs, immigration, and violence. For instance, “Backyard/El transpatio” in 2009, “Miss Bala” in 2011, “600 Milles” in 2015, “Desierto” in 2016, and “Tempestad,” 2017. 

Alfonso Cuarón's “Roma” could be Mexico's next best thing for next year. 

“Tempestad” has been released in Germany as “Sturmisches Land” and in France as “Tempte.” The French TV called it “Un pays dans la tourmente.” 

Finally, to send "Tempestad" to the Oscars© represents an enormous opportunity for a documentary to draw everybody's attention to the terrible condition of human trafficking, not only in Mexico but around the world.

 http://www.festivalinla.com/2018/08/the-best-latina-theme-movies-in-america.html  

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Copyright © 2017 Festival in LA 

Sunday, May 17, 2015

Güeros: A Lyrical Love Letter to Mexico City

By José Alberto Hermosillo

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.


Alonso Ruizpalacios, AFI FEST 2014. Photo by José 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 as 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 from the Mexican Academy of Film and Television, including 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, the film follows a fair-skinned teenager named Tomás, 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, they feel nostalgia 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 for the 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 the talented newcomer Sebastian Aguirre. He has the strength and heart to let the audience see the world through his eyes.



On the other hand, Sombra’s character 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 carry deeper meaning within 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.

 

Thanks to awards at festivals worldwide and Oscars won by Mexican directors known as the “Three Amigos” in recent years, some publications have stated, “Hollywood loves Mexican directors, but hates Mexican movies.” This is one of the main reasons why many Mexican films are not widely distributed in the US. In the spirit of fair play, things could change if we aim to develop a market where diversity and inclusion are the ultimate goals.   

Film critic José Hermosillo and director Alonso Ruizpalacios at AFI FEST 2014. 
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