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= Lame, Crummy.
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ALAMAR (Tothesea)
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Jorge is a Mayan fisherman living on the Chinchorro shore in the southern state of
Quintana Roo. His wife is from Rome, but she has grown bored of small-town life and
decides to return to Italy with their 5-year-old son, Natan. Jorge and Natan only have a
few days to spend together, so they go out on a fishing trip with Jorge's father so Natan
can learn about their way of life. He teaches the boy how to fish, dive, and navigate
the boat. They befriend a white bird whom they name Blanquita, and the
father teaches the son how to feed her and train her to stand on his arm (the actor,
Jorge Machado, is a bird trainer in real life). Alamar is slow and uneventful but never dull. We savor every
frame of the beautiful cinematography of tropic sea and sky, and the even more beautiful
relationship between father and son. Entirely improvised, almost to the point of becoming
a documentary, the film is full of tender moments that linger in the mind long
afterwards. If you like this one, you'll also enjoy the Peruvian film El regalo de
Pachamama, another father-son story celebrating the simple life. Alamar,
however, does not depict traditional indigenous folkways. The motorboat and diving
gear are modern and the characters are not really presented as Indians per se,
just people. The director's first film, the documentary Toro negro, also featured
Mayans living in Quintana Roo.
Sinopsis en español:
More info at
www.filmmovement.com
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ANIMAS TRUJANO El hombre importante
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The titular character is a petty, jealous, drunk who wishes to be the
mayordomo, or sponsor, of an annual festival, an honor usually
taken by the richest man in town. Animas can't hold down a job, so he
tries to make money by gambling, but has no luck. Only after he sells
his youngest daughter does he gain enough money to attain the hollow
honor of mayordomo. Animas is played by popular Japanese actor
Toshiru Mifune (Hell in the Pacific). Sporting plenty of dance and
music indigenous to the beautiful state of Oaxaca, Animas Trujano
won a Golden Globe for best foreign film. Based on the novel by Rogelio
Barriga Rivas.
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BALUN CANAN
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The film explores the tensions between whites and Chontal Indians on an hacienda in Comitán (a town
in Chiapas) during the agrarian reforms of President Lazaro Cardenas in the 1930s. The
widowed owner of the land, Zoraida, complies with the law, allowing the Chontales--her former
servants--to cultivate the land for their own benefit, and she provides a teacher, the
illegitimate mestizo son of her brother, to teach the Chontal children. But Zoraida remains
arrogant, and the teacher abuses his students. After this abuse, the Chontales stop working,
and put a curse on Zoraida's son.
Based on the 1957 novel by Rosario Castellanos (1925-1974), one of Mexico's greatest writers. "Balún Canán," translated either as "Nine Stars" or "Nine Guardians," was the old Mayan name for Comitán, where Castellanos grew up and experienced the agrarian reform firsthand. Her second novel, Oficio de tinieblas, was also made into a film (see below). Both are available from Gandhi, a Barnes & Noble type of store in Mexico.
Sinopsis en español:
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LA CABEZA VIVIENTE (The Living Head)
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In this Grade B horror movie, a group of archaeologists explore the tomb of the Aztec warrior
Acatl. They find him perfectly mummified, as well as a severed head of the high priest Xiu.
One of the archaeologist brings these mummy treasures home, where they come to life,
kill his colleagues, and hypnotize his wife, who turns out to be the reincarnation of the
Aztec priestess Xochiquétzal.
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CASCABEL (Rattlesnake)
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A theater director is hired to film a documentary about the Lacandon
Indians in Chiapas. He is given a script and instructions not to change it,
but he documents the squalid conditions of the Lacandon reservation and
interviews many people, whites and Indians, who express their cynicism
toward the government. In the end the director is replaced by a more
"cooperative" filmmaker. Although the characters are not memorable, this
film provides a good introduction to the complexities of Indian politics
in Mexico. Winner of two Ariel Awards: Best Film Editing (Reynaldo P.
Portillo), and Best First Work.
Sinopsis en español: |
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CHAC, EL DIOS DE LA LLUVIA (Chac: The Rain God)
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This mesmerizing film is acted entirely by Mayan Indians. Suffering
from a drought, the Mayans seek out a mysterious diviner (Pablo Canche
Balam) to perform the
proper ceremonies for the rain god, Chac. The diviner takes them on a journey
calculated to test their faith, and only an unnamed mute boy passes the
test. The DVD has an excellent commentary by the director which explains
some of the more perplexing aspects of this strange film. Adding to the
overall mystery is that neither the director nor any of the actors ever
made another film. Check out an interview with Rolando Klein: nativenetworks.si.edu/eng/rose/klein_r_interview.htm Entrevista en español: nativenetworks.si.edu/esp/rose/klein_r_interview.htm
Sinopsis en español:
El director Rolando Klein vivió nueve meses en Chiapas (Temejapa), lugar de muy difícil acceso. A diario debía caminar más de una hora para platicar
con los indígenas, hasta que los convenció para que participaran en la filmación. Cuando el filme se exhibió tuvo mucho éxito, pero surgió un conflicto
sobre la nacionalidad del largometraje por ser el director el inversionista de la película. Mientras se discutía el asunto, la cinta fue guardada en
las bóvedas de la Cineteca Nacional, y por mucho tiempo se creyó que la película había desaparecido en el incendio de 1982. El director dejó el cine y
se dedicó a exportar vinos a Estados Unidos.
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COCHOCHI
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Two Raramuri brothers, aged 11 and 12, have just finished elementary
boarding school. The older boy, sullen and rebellious, has won a scholarship to high
school but isn't interested in attending; the younger likes school but didn't win the
scholarship. When their grandfather sends them on an errand to deliver medicine to
relatives in another town, the brothers borrow his horse without permission. They lose
their way, then they lose the horse, and eventually they lose track of each other. The
divergent paths they choose suggest the futures their lives may take. The film shows
beautiful scenery of the Tarahumara mountains and glimpses of Raramuri folkways.
The title Cochochi refers to Okochochi, the Raramuri name for San Ignacio, the town
where the boys live. The actors are brothers in real life and use their real names in the
film, making it almost a documentary, since the story is based on an episode they actually
experienced. Cochochi won several awards at international festivals.
Blog: cochochidramarural.blogspot.com
Sinopsis en español:
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CORAZON DEL TIEMPO Un viaje al Corazón de la Resistencia Zapatista (Heart of Time: A journey into the heart of the Zapatista Resistance)
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In La Esperanza de San Pedro, Chiapas, in the midst of the Zapatista struggle, Sonia, a member of the community,
is about to be married. Her dowry, a cow, has been delivered. Her boyfriend’s family has been spoken to… However,
Sonia is in love with another: an insurgent from the Zapatista EZLN. Now, the EZLN has a problem on their hands
and the entire community must come together so that the voice of its members can be heard and respected; and so
that duty can be overcome by love.
Sinopsis en español:
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EL CURANDERO (The Healer)
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When Jacinto gets sick, his relatives call upon a local healer to cure
him. An intimate look at traditional Mayan healing practices, this short
film reveals indigenous approach of addressing the physical, spiritual,
and psychological aspects of sicknessWestern medicinal techniques. El
Curandero is the first fiction-drama
produced by Chiapaneco indigenous communities. The actors are from the
small highlands community of Magdalena. The complete title is El
Curandero de las communidades indigenas de Los Altos de Chiapas, or
The Healer in the Indigenous of Communities of the Highlands of Chiapas.
Order from
www.promediosmexico.org
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EN EL PAÍS DE LOS PIES LIGEROS (El niño rarárumi) (In the Country of the Quick Feet)
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On summer vacation 12-year-old Manuel travels with his mother to visit his father, who is working as a logger
in Creel, a town in the Sierra. Manuel meets the 9-year-old Jesús, a Tarahumara boy, who introduces him to his
culture and his family. When the boys go on a camping trip with Jesús' father Benito (played by
Ernesto Gómez
Cruz), Manuel is further immersed in Tarahumara customs and culture and learns about medicinal plants. The
Tarahumara are played by indigenous actors (but incredibly, the actor who plays Jesus is not credited) and we
hear plenty of Raramuri spoken. There is also a scuffle with a band of illegal loggers that comprises
the film's "adventure". This film is the Mexican equivalent of an After School Special--didactic and uninspired.
But there is a good deal of authenticity in the language, costumes and culture, an elaborate healing ritual,
and a fiesta. The film is available on DVD with two other 1980s movies, Un sábado más, and Niño pobre,
niño rico.
Sinopsis en español:
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EL JUICIO DE MARTÍN CORTÉS El crimen de ser Mexicano (The Judgement of Martin Cortes: The Crime of Being Mexican)
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In contemporary Mexico a play is presented, Martín Cortés: El primer
Mexicano, its two main characters being the two sons of the conquistador
Hernán Cortés. One is the son of Malinche and therefore the first mestizo;
the other is the legitimate son of Cortés's wife. Both half-brothers are
named Martín Cortés. In the play, the mestizo kills his Spanish half-brother.
Unfortunately, the actor who plays him also kills the actor who plays the
Spanish half-brother. The actor is put on trial for murder, and the play
is re-enacted in order to show the jury how the mestizo actor in the course
of his role was inflamed by 400 years of racial prejudice and oppression.
This highly original and thought-provoking film is marred somewhat by
the light-skinned Gonzalo Vega playing an unconvincing mestizo. The film has also been called Los hijos de La Malinche. Pictured
at left is the VHS version.
Sinopsis en español:
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LLOVIZNA (Drizzle)
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Eduardo, a well-to-do suburban businessman, is returning from a trip with a briefcase
full of money. On the way, he picks up four Indian campesinos, bricklayers,
who are returning to the city after attending a child's funeral. They help
Eduardo get his van out of a pothole, and Eduardo gives them a
ride to the city in the middle of the night, in the pouring rain. Holding
so much money, Eduardo worries that the Indians might rob him, and his
fears begin to play tricks with his mind. The Indians are a little
drunk, and they speak Nahuatl in the back seat, adding to Eduardo's fears.
As this is a suspense film that makes the viewer wonder whether the Indians
will rob the driver, I cannot reveal the outcome. The llovizna, or
drizzle, of the title refers to the father's concern that the rain
might penetrate his daughter's homemade coffin. Folkways shown in the film
include a poor rural funeral for the child, and also an Aztec
Dance performance in the city, highlighting the chasm between the exotic,
romanticized Indian and the grim reality of their present-day marginalization.
This in turn reveals the hypocrisy of national Aztec pride flaunted over
furtive prejudices. Loosely based on the very short story "La Llovizna" by Juan de la Cabada.
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MARÍA ISABEL
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Maria Isabel (Adela Noriega) is an Indian girl growing up in Nayarit near the estate of
the wealthy and evil Don Felix. She befriends Don Felix's daughter, Graciela. When Graciela
dies prematurely, she entrusts her illegitimate daughter to Maria Isabel, who must wander
the streets of Mexico City looking for a job and raising the daughter. She endures one
crummy job after another and finally ends up as a maid for kind, handsome and wealthy
Ricardo Mendiola (Fernando Carrillo). They fall in love and marry, and all kinds of
telenovela-ish things happen along the way that no intelligent viewer could care about.
The only interesting plot development comes near the end, when the entire Indian village
gets sick from Don Felix's fertilizers poisoning the river, and the village sets out to
lynch him. Along the way we also
meet Maria Isabel's humble father Pedro (José Carlos Ruiz), her hateful stepmother Chona
(Monica Miguel), and a cute little neighbor named Pedrito (Carlos Campos). Maria Isabel
refers to her people as Aguchon, which is evidently a fictional name, but judging from their
clothing and art, and their location in Nayarit, they are clearly Huichol (you can see some
Huichol-style yarn paintings and other folk art in Mendiola's home after they are married).
This is essentially a rags-to-riches tale, and we see Maria Isabel gradually dropping her
Indian braids, earrings and dress in favor of diamonds, sleek couture, and lightened hair.
If only she had stayed with her family in Nayarit and spared us 11 hours of this
typically dreadful telenovela.
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MI NIÑO TIZOC (My Son Tizoc)
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The widower Carmelo (Alberto Vázquez) and his 11-year-old son Tizoc (Cuitláhuac "Cui"
Rodríguez) make a living selling flowers in
Xochimilco. The other flower sellers resent him because he sells his flowers cheaper,
so they harass him, vandalizing his house and killing his dog. When father and son watch
an extravagant pageant called a posada, which enacts beggars asking for food at a house
and being refused at the front door but accepted at the back door, Tizoc wants to have
a posada of his own--making the film almost a parody of Macario (above). They buy
a chicken and a piñata, but Tizoc gets sick from the old, three-peso
chicken and Carmelo has to take him to the doctor. He wraps up the boy in a petate like
a taco and carries him to the Hospital Infantil de México, where he sees
Diego Rivera's indigenous-themed painting, La piñata. After checking in his son,
Carmelo is robbed,
and when the police come, they think Carmelo robbed the thief, so they lock up Carmelo.
After five days Carmelo finally persuades the police to let him see his son in the
hospital. Tizoc has recovered, but when the return home they find their house burned by
the resentful neighbors. The ceaseless persecution Carmelo suffers is painful to watch,
despite the attempts at humor. Although the film could be described as a musical comedy,
the death of the dog and the burning of the house are just too much to take, even though
the characters accept their misfortunes with the dignity and equanimity that commercial
films like to bestow on minorities. The DVD includes a 12-minute documentary on
director Ismael Rodriguez.
Sinopsis en español:
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OFICIO DE TINIEBLAS (Duty of Darkness)
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The film seems to take place in the 1970s, though it is based on the
classic novel by Rosario Castellanos set in 1934, which was
in turn based on an 1867 uprising of the Chamula Indians working on an
hacienda (very little evidence survives of the original incident).
The Chamulas
crucify a small boy in order to have their own savior, who comes to be
known as El Cristo indigena. You can usually find the DVD on Ebay.
It's one of those blurry, unsubtitled, no-frills releases that they make in Mexico,
but the film is definitely worth checking out. (The DVD box says 96 minutes
but it is actually 107 minutes.)
Sinopsis en español: |
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RAÍCES (Roots)
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Four tales adapted from El diosero y otros cuentos, a classic
collection of stories by Guadalajara author and anthropologist Francisco
Rojas Gonzáles (1903-1951). LAS VACAS:
A poor Otomí couple with a baby cannot afford to buy their next meal.
A rich white couple drive by and offer the mother an irresistable salary
as a wet nurse under the condition that she leave her husband and daughter.
NUESTRA SEÑORA: An arrogant anthropology student visits the Chamulas
to write her thesis on their "savage" culture, arguing that they cannot
appreciate art. EL TUERTO: A one-eyed Yucatec boy is taunted by his peers.
His mother seeks the help of curanderos. LA POTRANCA: A married
man in Tajín relentlessly pursues his Indian servant. He offers her father money
to "buy" her. Despite the overly didactic tone (especially in NUESTRA
SEÑORA), this film is quite beautiful. It was Mexico's first independent
film, and won prizes from Ariel and Cannes.
Sinopsis en español: |
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RITO TERMINAL (Last Rites)
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A photographer from Mexico City visits a small town in Oaxaca
to document a religious festival. He meddles in sacred affairs, invoking
the wrath of the local hechicera. As a result, the photographer
loses his shadow, and must learn how to get it back. Strange and disorienting
with a hint
of horror, and thoughtful examination of the conflicts between ladinos
and indigenas, and urban and rural lifestyles. Nominated for 14 Ariel Awards; won for Best Actress in a Minor
Role (Fabiana Perzabal).
Sinopsis en español: |
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SANTO LUZBEL (Saint Lucifer)
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In the town of Yohualichan in the north of Puebla, Indians have performed the
Tlayectiltlahtocatzintzin for hundreds of years. This is a coloquio, or religious
pageant, in honor of Saint Michael's battle with Luzbel (Lucifer). But in the five years
since they stopped performing the coloquio (due to the death of the organizer), the Indians
have suffered bad luck: Cirilio's son is sick; Emeterio feels he is
being persued by Saint Michael, and Olegario sees his land taken away by the sheriff.
Olegario feels they must resume the tradition of the coloquio in order to stop the bad
luck. When he is arrested after fighting with the sheriff, he makes his godson Emeterio
promise to perform the coloquio and entrusts him with the sacred text. As they proceed to
rehearse for the elaborate ritual, the mestizo sheriff informs the priest that title of
the text means "Sacred Colloquium of the Great and Holy Lords, San Miguel and Luzbel."
Fearing that the coloquio glorifies Lucifer, the priest forbids the coloquio two days before
el Dia de San Miguel. The Indians decide to perform the pageant anyway and lock themselves
inside the church, culminating in a showdown between the Indigenous community of
Yohualichan and the sheriff's men. Santo Luzbel moves freely between Spanish and
Nahuatl (which they call Mexicano) and is performed by actors from the
Compañía de Teatro Náhuatl, with choreography by Danzantes de San Miguel Zinacapan. It seems
to me one of the most authentically indigenous films made in Mexico. It was nominated for
eight Ariel Awards and won the Diosa de Plata for Best Script.
Sinopsis en español:
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TARAHUMARA Cada vez más lejos
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An anthropologist working for the Instituto Nacional Indigenista tries
to help the Tarahumara Indians protect their land from greedy loggers
and politicians who do not respect their rights. Somewhat preachy and
old-fashioned by today's standards, the film does show some fascinating
scenes of the Raramuri Indians in their own element, with deer hunting,
festivals, a baptism, and of course the footraces for which the Raramuri
are famous. The secondary title, Cada vez mas lejos, means
"Further and further each time," referring to the constant attempt to
drive Indians off their land and into less useful land--a pattern repeated
for centuries throughout the Americas. Tarahumara won prizes from
Cannes and The Mexican Cinema Journalists and was nominated for a Golden
Globe for Best Foreign Picture. Order from Gandhi Bookstore:
gandhi.com.mx
Sinopsis en español:
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EL TEJEDOR DE MILAGROS (The Weaver of Miracles)
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Based on the play by Hugo Argüelles (1932-2003). Arnulfo, an Indian who weaves baskets
with his feet, comes to town on Christmas looking for help for his wife Jacinta, who is about to give
birth. A rumor spreads that the boy was born like Jesus, and an atheist tries to take
advantage of the situation. People arrive with gifts and they put the baby in the church's
nativity scene. The priest tries to rescue the baby from the fervor but the baby dies.
This film won the PECIME Prize for best picture. Starring Pedro Armendariz and Columba
Dominguez. Why isn't this on DVD?
Sinopsis en español:
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EL TESORO DEL INDITO
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An Indian boy travels from his village to Mexico City to visit his
sister, who is a maid in the house of a famous singer. During one of her
performances, the Indito is accidentally thrown onstage, sings a song,
and becomes a hit. When his father sees his son in the paper the next day,
he too travels to the city, and three Indians get drawn into an adventure
when the foolish father reveals that he has a Revolution-era treasure
hidden back home, thereby attracting the attention of greedy villains. An
unfortunate mix of comedy and violence ensues, including the torture of
the father, Cuauhtemoc-style, by burning his feet. But all ends well when
the villains are caught and thrown barefoot in a prison covered with
nopales. Abounding in stereotypes, El tesoro del indito is
disturbingly complacent and paternalistic. The Indito and his sister are
played by Pepito and Titina Romay, real-life children of the director.
Some Aztec dancing is shown.
Sinopsis en español: |
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TIZOC: AMOR INDIO
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Tizoc (Pedro Infante), last descendent of the Mixteca rulers, is a proud
hunter who falls in love with the wealthy white girl Maria (Maria Felix).
Her father forbids the marriage, and Maria wavers over whether or not she
is in love with Tizoc. Both Indians and whites oppose the marriage, and
all the odds are against the couple. Despite the schlocky story the film
has some fine moments. Pedro Infante is generally convincing as a fiercely
proud and independent Indian, except when he sings Pedro Infante songs.
Tizoc was filmed in cinemascope, but the DVD from Laguna chops it
down to fullscreen.
Sinopsis en español:
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EL TRASPATIO (Backyard)
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Traspatio confronts the epidemic of kidnapping, rape, and murder of women in Ciudad
Juarez that has been escalating over the past 15 years. The film tells two stories. The main
plot is a police procedural following a woman detective's attempt to overcome the
department's corruption and the public's passivity toward the ongoing crimes. And then
there is the subplot that brings a more personal dimension to the tale.
Juanita (Asur Zágada), a native of Cintalapa, Chiapas, arrives in Ciudad Juarez to live
with her cousin Márgara (Amorita Rasgado) and work in a factory. When they go out to a bar, a young man, Cutberto
(Iván Cortés) sitting nearby overhears them speaking Tzeltal (one of the Mayan languages).
He is from Tecpatán, Oaxaca, and also speaks Tzeltal. The two begin begin dating.
Traditional Cutberto wants to ask her father's
permission before they take things further, but Juanita, away from her family for the first
time and exhilarated by the freedom of Juarez, gets bored with Cutberto and publicly dumps
him for another guy. Cutberto's sleazy friends persuade him to take revenge on Juanita,
leading to
a disastrous ending for them both. The early scenes of Juanita and Cutberto,
with their bilingual conversations in Spanish and Tzeltal, are quite charming, and both
first-time actors are excellent, though apparently neither of them are native Tzeltal
speakers. Asur Zágada won an Ariel Award for Best Actress.
Sinopsis en español:
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VAHO (Becloud)
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In 1964, a trucker and a prostitute find a baby lying atop his dead Indian mother in the
middle of the desert. The prostitute adopts the baby, who grows up to be a custodian at a
grammar school in Iztapalapa, a district of Mexico City famous for its annual Passion
reenactment during Semana Santa (Holy Week). The custodian seems to be slightly mentally
challenged, perhaps because of
his traumatic infancy, and is riduculed by the children. One day a little girl is locked
inside the school after hours. When the townspeople find her, they think the custodian
kidnapped her and they lynch and kill him. All this is told in flashbacks. The majority of
the film focuses on the daily lives of three teenage boys who happened to witness the
lynching. Their actions then are reflected in their seemingly dead-end lives today. José
reluctantly works at his father’s ice factory; Felipe works at an Internet café where he can
act out his cyberstalking; and Andrés joins an Aztec revivalist group led by a Nahual
(shaman). The Indians don't get much screentime, but the story examines different ways that
whites have treated Indians: with malevolence, negligence, nostolgia, and
commercialization. The title Vaho (meaning mist) refers to the Mayan myth of creation,
in which the gods put a blinding mist over men's eyes when they realized that their creations were
too smart to continue worshipping them. "An enthralling mix of history, memory, guilt, and
atonement turns a tangled neighborhood tale into a sly parable about modern Mexico itself."
Sinopsis en español:
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EL VIOLIN
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This all-too-familiar story of a rural village rebelling against a military
dictatorship is the most-awarded film in Mexican history. The Violin stars
88-year-old Ángel Tavira, a professional violinist who makes his first
film appearance here, as well as providing the soundtrack. Tavira plays
Don Plutarco Hidalgo,
who along with his son and grandson is trying to recover munitions from
their home after their village has been raided and occupied by the army.
Plutarco attempts to re-enter the village by getting friendly with the
occupying captain, who likes the old man's music. He also passes on a legacy
to his grandson Lucio by teaching him folktales and folksongs (such as "El
corrido de los Herrera") which he hopes will help the boy face the uncertain
future. Both urgent and poetic, brutal and lyrical, the film itself feels
like an old ballad, a wise and aged corrido, and yet it is, astonishingly,
the director's first film. Trailer and further info at
filmmovement.com. [Sadly, Angel Tavira died in July 2008. He only made
one more film appearance, in La morenita.]
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YANCO
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An Indian boy (Ricardo Ancona) is hypersensitive to noise and often retreats to the woods
to find solace. One day he meets an old hermit who teaches him how to play
the violin. When the old man dies, Yanco is heartbroken, but a few days
later he finds the old man's violin for sale at a shop. Too poor to buy
it, he sneaks into the store each night and takes the violin out to the
woods to play it. The townspeople fear that the mysteriously disappearing
violin is the work of the devil and they hunt down the source of the
sound in the woods. There is hardly any dialogue in this film, probably
no more than twenty lines throughout, so you don't need subtitles to
understand the infrequent Nahuatl. The story is told through its lovely
black-and-white cinematography and the music. There is not much Indian
culture shown aside from a healing ritual and some dancing. Based on the short story
"Yanko the Musician" by Polish author Henryk Sienkiewicz.
Sinopsis en español: |
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Part One: Historical Films on the Indigenous Peoples of Mexico
Part Two: The Films of Emilio Fernandez
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