KICKS: KIDS OF COLOR ROAMING IN SUBURBIA

By José Alberto Hermosillo,  

“Kicks” is one of the year’s best and freshest independent films, yet it is ingenious and original. 
 
This new coming-of-age story builds tension over eighty minutes as characters survive in America’s slums.  

 

Courtesy of Focus Features

The first fifteen minutes of the film feel like the most extended Nike Air Jordan commercial ever. This story is not about an ordinary tennis shoe; it is about “THE JORDANS.”

Once the main character starts looking for what is worth in life, the action takes off.

Courtesy of Focus Features

In the suburbs of Oakland, California, we meet Brandon (Jahking Guillory), an introverted teenager who likes to hang out with his older buddies, Rico (Christopher Meyer) and Albert (CJ Wallance). They love to smoke, drink, and rap.

After being beaten up in a humiliating incident, Brandon and his friends set out on a quest to recover his most prized possession, his stolen tennis shoes.

A confrontation like that happens all the time, anywhere; it is real - people can get killed over a backpack.

Courtesy of Focus Features

In “Kicks,” the city is one of the main characters.

The teen drama moves from a small, impoverished ghetto to a more significant and more dangerous part of the town, where the big boys play with huge cars, easy girls, loaded guns, and plenty of drugs. 

 

Courtesy of Focus Features

While the meanest guy in the “barrio,” Flaco (Kofi Siriboe), physically abuses Brandon (14), his five-year-old is also being abused.  

Flaco is played by Kofi Siriboe. Courtesy of Focus Features

 

Flaco tries to teach a lesson to his son, but he has no moral authority over him - this is a fundamental element woven through the plots and subplots of the movie.

 

“Kicks” underlines a cycle of abuse. The irony comes when someone preaches respect while failing to respect the vulnerable. 

 

Courtesy of Focus Features

The young actors in “Kicks” are terrific. They had fun working with director Justin Tipping.

Justin said, “I was terrified the first day of shooting! It was a weird experience, and at the same time, it was incredible to work with all those talented kids.”

 

Director, co-writer Justin Tipping, Photo by José A  Hermosillo, Copyright Festival in LA, 2016 

“Kicks” is a remarkable film debut for director Justin Tipping.

The film’s musical evolution unfolds the drama.

The director cleverly incorporates hip-hop early on to foreshadow the rap that plays later, showing the transformation of a fragile teenager into a robust young adult.

Jahking Guillory as Brandon, Photo by José A Hermosillo, Copyright Festival in LA 2016

In other parts of the world, some movies about troubled kids have been made in a similar tone. For example, the award-winning Mexican production “Güeros,” last year’s independent sensation “Dope,” the Oscar-winning “Tsotsi” from South Africa, “My Brother the Devil” from the U.K., and the iconic “Boys n the Hood” by John Singleton.

A ray of hope shines in the desolate universe of “Kicks,” where friendship remains unbroken.

The film is slightly predictable but satisfies the audience, who cheer for the main character, the vulnerable teen who wants to take justice into his own hands. Whether he succeeds or not, it is worth trying. 

“Kicks” official trailer

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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. 
COPYRIGHT FestivalinLA

“Güeros” Trailer:

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Copyright © 2015 Festival in LA

ARIEL 2015: SURPRISES, DISAPPOINTMENTS AND NOMINATIONS

By Jose Alberto Hermosillo

The Mexican Academy of Arts and Cinematographic Sciences (AMACC) on Monday announced the nominations for the 2015 Ariel Awards with some surprises and disappointments.

d. Alonso Ruizpalacios, Gueros, AFI FEST 2014, Photo by Jose A. Hermosillo.

The biggest winners were "Gueros" directed by Alonso Ruizpalacios with twelve, "Carmín tropical" by Rigoberto Perezcano and "Las oscuras primaveras" by Ernesto Contreras both with ten nominations. 

The Mexican box office hit "Buen dia, Ramón/Guten tag, Ramón" only got six nominations, including best picture and best director, but the amazing music by Rodrigo Flores López was overlooked.

Among the disappointments, it was the Oscar submission "Cantinflas" that did not get the best picture nomination, neither best director or original screenplay, the highest box office biopic about the great comedian from "Around the World in 80 Days" only got best actor, best makeup, art design, costume design, and visual effects. That says a lot about how far Mexico is to ever win an Oscar for best foreign film.  

The Ariel Awards were established in 1946 to recognize the talent and efforts of the people in the Mexican film industry.

The especial Golden Ariel recipients are the producer Bertha Navarro ("Pan's Labyrinth") and special effects specialist Miguel Vazquez.

Also, it will be a special tribute to the writers Jose Emilio Pacheco, Gabriel Garcia Marquez and Vicente Lenero.  

AND THE 57TH ARIEL NOMINATIONS ARE:

BEST PICTURE:
- Carmín tropical, Rigoberto Perezcano 
- Güeros, Alonso Ruizpalacios
- Guten Tag, Ramón, Jorge Ramírez- Suárez
- La dictadura perfecta, Luis Estrada
- Las oscuras primaveras, Ernesto Contreras

BEST FIRST WORK:
- González, Christian Díaz
- Güeros, Alonso Ruizpalacios
- Las horas contigo, Catalina Aguilar
- Los bañistas, Max Zunino
- Obediencia perfecta, Luis Urquiza

BEST DIRECTOR:
– Rigoberto Perezcano, Carmín tropical
– Alonso Ruizpalacios, Güeros
– Jorge Ramírez-Suárez, Guten Tag, Ramón
– Luis Estrada, La dictadura perfecta
– Ernesto Contreras, Las oscuras primaveras

BEST DOCUMENTARY:
- Bering. Equilibrio y Resistencia, Lourdes Grobet
- Eco de la montaña, Nicolás Echeverría
- H20MX, José Cohen
- Los años de fierro, Santiago Eisteinou
- Navajazo, Ricardo Silva

BEST ACTOR:
– Óscar Jaenada, Cantinflas
– Harold Torres, González
– Tenoch Huerta, Güeros
– Kristyan Ferrer, Guten tag, Ramón
– Juan Manuel Bernal, Obediencia perfecta

BEST SUPPORTING ACTOR:
– Luis Alberti, Carmín tropical
– Alonso Echánove, Cuatro lunas
– Álvaro guerrero, Eddie Reynolds, and for los Ángeles de Acero
– Carlos Bardem, González
– Noé Hernández, La tirisia

BEST ACTRESS
– Ilse Salas, Güeros
– Karina Gidi, La guerra de Manuela Jankovic
– Adriana Paz, La tirisia
– Cassandra Ciangherotti, Las horas contigo
– Irene Azuela, Las oscuras primaveras

BEST SUPPORTING ACTRESS
– Mima Vukovic, La guerra de Manuela Jankovic
– Mercedes Hernández, La tirisia
– Isela Vega, Las horas contigo
– Cecilia Suárez, Las oscuras primaveras
– Margarita Sanz, Las oscuras primaveras

BEST MALE REVELATION:
– Sebastián Aguirre, Güeros
– Daniel Carrera, La fórmula del doctor Funes
– Hayden Meyenberg, Las oscuras primaveras
– Sebastián Aguirre, Obediencia perfecta
– Alejandro Gallardo, Somos Mari Pepa

BEST FEMALE REVELATION:
– Vico Escorcia, Eddie Reynolds and for los Ángeles de Acero
– Gabriela Cartol, La tirisia
– Magda Ortiz, La tirisia
– Nora Isabel Huerta, Seguir viviendo
– Petra Iñiguez, Somos Mari Pepa

BEST ORIGINAL SCREENPLAY:
– Rigoberto Perezcano, Carmín tropical
– Fernando del Razo, Christian Díaz, González
– Alonso Ruizpalacios, Güeros
– Jorge Ramírez-Suárez, Guten Tag, Ramón
– Luis Estrada, Jaime Sampietro, La dictadura perfecta

BEST ADAPTED SCREENPLAY:
– Mauricio Walerstein, Claudia Nazoa, Canon (fidelidad al límite)
– José Buil, La fórmula del doctor Funes
– Ernesto Alcocer, Luis Urquiza, Obediencia perfecta

BEST CINEMATOGRAPHY:
– Alejandro Cantú, Carmín tropical
– Damián García, Güeros
– Carlos Hidalgo, Guten tag, Ramón
– César Gutiérrez, La tirisia
– Tonatiuh Martínez, Las oscuras primaveras

BEST EDITING:
– Miguel Schverdfinger, Carmín tropical
– Yibrán Asuad, Ana García, Güeros
– Jorge Ramírez-Suárez, Sonia Sánchez, Sam Baixauli, Guten tag, Ramón
– Mariana Rodríguez, La dictadura perfecta
– Valentina Leduc, Las oscuras primaveras

 BEST ORIGINAL MUSIC:
– Luca Ortega, Carmín tropical
– Mario Lavista, Eco de la montaña
– Tomás Barreiro, Güeros
– Emmanuel del Real, Renato del Real, Ramino del Real, Las oscuras primaveras
– Kenji Kishi Leopo, Somos Mari Pepa

BEST SOUD:
– Pablo Tamez, Ruy García, Carmín tropical
– Axel Muñoz, José Miguel Enríquez, Pablo Fernández, González
– Isabel Muñoz, Pedro González, Gabriel Teyna y Kyoshi Osawa por Güeros
– Santiago Núñez, Pablo Lach, Hugo de la Cerda, La dictadura perfecta
– Enrique Ojeda, Enrique Greiner, Las oscuras primaveras

BEST SPECIAL EFFECTS:
– Ricardo Arvizu, El crimen del Cácaro Gumaro
– Alejandro Vázquez, La dictadura perfecta
– Nury Álamo and Karina Rodríguez, La fórmula del doctor Funes
– Bernat Aragonés, Más negro que la noche
– Ricardo Arvizu, Visitantes

BEST VISUAL EFFECTS:
– Marco Rodríguez, Cantinflas
– Fabián García, Cyntia Navarro and Paula Siqueira: Eddie Reynolds, and for los Ángeles de Acero
– Paula Siqueira, Michael Hoffmann, Raúl Prado, Cyntia Navarro and Charlie Iturriaga, El crimen del Cácaro Gumaro
– Adriana Arriaga, La dictadura perfecta
– Charlie Iturriaga, Visitantes

BEST ART DESIGN:
– Christofer Lagunes, Cantinflas
– Sandra Cabriada, Güeros
– Salvador Parra, La dictadura perfecta
– Antonio Muñohierro, Mariana Fernández, La guerra de Manuela Jankovic
– Julieta Ávarez, Obediencia perfecta

BEST COSTUME DESIGN:
– Gabriela Fernández, Cantinflas
– Laura García de la Mora, Carmín tropical
– Gabriela Fernández, Eddie Reynolds and for los Ángeles de Acero
– Mariestela Fernández, La dictadura perfecta
– Josefina Echeverría, Obediencia perfecta

BEST MAKEUP:
– Maripaz Robles, Cantinflas
– Maripaz Robles, Carmín tropical
– Felipe Salazar, Eddie Reynolds and los Ángeles de Acero
– Roberto Ortíz, Felipe Salazar, Elena López, El crimen del Cácaro Gumaro
– Felipe Salazar, La dictadura perfecta

BEST SHORT (DOCUMENTARY)
– El palacio, Nicolás Pereda
– El penacho de Moctezuma. Plumaria del México antiguo, Jaime Kuri.
– Jefe del desierto, Alejandro Ramírez
– Perreus, Kalien Delgado
– Ulterior, Sabrina Muhate

BEST LIVE ACTION SHORT:
– 400 maletas, Fernanda Valadez
– Ella, Ximena Urrutia
– La carta, María de los Ángeles Cruz
– Nunca regreses, Leonardo Díaz
– Ramona, Giovanna Zacarías

BEST ANIMATED SHORT:
– El color de mis alas, Miguel Anaya
– El modelo de Pickman, Pablo Ángeles Zuman
– El trompetista, Raúl Alejandro Morales
– Tierra seca, Ricardo Torres
– Tlacuache de maguey, Miguel Anaya

BEST IBERO-AMERICAN FILM
– Conducta, Ernesto Daranas – Cuba
– La isla mínima, Alberto Rodríguez – España
– Mr. Kaplan, Álvaro Brechner – Uruguay
– Pelo malo, Mariana Rondon – Venezuela
– Relatos salvajes, Damián Szifron  – Argentina

THE CEREMONY WILL BE ON MAY 26, 2015.

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