Mexican Cinema At Its 1990s

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In the early 1990s, Mexican cinema 0experienced a new boom, reaching its peak from the commercial success obtained by Como agua para chocolate Les Épices de la passion, 1992, by Alfonso Arau. Very quickly, this phenomenon was baptized New Era of Mexican cinema. Then appear directors who renew their cinematographic grammar to the point of breaking with that which characterized their immediate predecessors. Films such as Danzón (1991), by María Novaro, La mujer de Benjamín (La Femme de Benjamín, 1992), by Carlos Carrera, Principio y fin (Beginning and End, 1993), by veteran Arturo Ripstein, El Callejón de los Milagros (La Rue des miracles , 1995), by Jorge Fons, among others, will sow the seeds of current Mexican cinema. In you can have a perfect look at mexican cinema.

Introduction to Mexican cinema

In the 1990s, Mexican cinema began to emerge from the depths of the swamp and to shake its wings to prepare for flight. Today it is a cinema in search, ready to look in the face what before it only saw out of the corner of the eye, with timidity, and even with fear.

  • The documentary view and the resurgence of this genre is today one of the main characteristics of world cinema. Mexican cinema is no exception. Compared to documentary cinema at the end of the last century, that of today is particularly prolific. The reason is complex. This resurgence is due to the globalization process, which pushes each people to reaffirm or redefine their own identity. It is also due to the ever-increasing access to new technologies, which allows anyone who is sufficiently skillful and with a certain cinematographic eye to record the aspect of reality that interests him the most. Finally, the documentary resurfaces in Mexico, precisely through the search for new cinematographic extras, that is to say new subjects that are part of the figuration. The direct antecedent of this documentary movement is the cinema of Nicolás Echevarría, who pointed his lens where society saw only vestiges of a distant past, devoid of any meaning.

Del olvido al no me acuerdo (From oblivion to I do not remember, 1999), En el hoyo (In the ditch, 2006) and Los que se quedan Those who stay , 2008), by Juan Carlos Rulfo, show how the common subject (elderly people, construction workers and families of emigrants, respectively), through a selection of revealing moments, is staged. It is the same with the portrait Intimidades by Shakespeare y Víctor Hugo ( Intimités by Shakespeare and Victor Hugo , 2008), by the young and talented Yulene Olaizola, which tells the story of a multi-homicidal schizophrenic who was the host and friend of the director’s grandmother.

Comedy of manners

In this comedy of manners, an old bachelor goes from his infantile diversions to the kidnapping of a young girl in order to force him to love him.

These new extras extend to the characters in the daily drama that good morals prefer not to see. This is what happens in Los ladrones viejos. Las leyendas del artegio The old thieves. Legends of the artegio, 2007), documentary by Everardo González which tells the story of Carrizos, the most famous Mexican thief of the 1970s. Through his film, González humanizes this thief and a few others, to the point of showing how much honor there was in their actions, and so little in the actions of the authorities. Another representative example is Los herederos ( Les Héritiers , 2008), by Eugenio Polgovski, a documentary whose main goal is to portray the situation of child labor in Mexico.