{"id":800,"date":"2018-10-26T15:36:05","date_gmt":"2018-10-26T13:36:05","guid":{"rendered":"http:\/\/kinoteka.mk\/?p=800"},"modified":"2018-10-26T15:36:50","modified_gmt":"2018-10-26T13:36:50","slug":"the-new-mexican-film-the-successors-of-the-three-amigos","status":"publish","type":"post","link":"https:\/\/staging.kinoteka.borkko.com\/en\/the-new-mexican-film-the-successors-of-the-three-amigos\/","title":{"rendered":"THE NEW MEXICAN FILM: THE SUCCESSORS OF THE THREE AMIGOS"},"content":{"rendered":"<p><strong>Stojan Sinadinov<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>\u2018<\/strong>Everything will fall in its right place\u2019 was a sentence that was often used in the Mexican cinematography during the second half of the previous century. And, lo and behold, at the beginning of the new millennium, everything has truly fallen in its right place: Mexican cinematography has yet again become one of the most respected in the world. Or, at worst, it is considered one of the richest and best hotbeds of film authors that, in the last decade and a half, took turns to reign supreme at the Oscar ceremonies in Hollywood, Palme d\u2019Or ceremonies in Cannes and the Golden Lions ceremonies in Venice\u2026<\/p>\n<p>The history of Mexican cinematography had its beginnings in the enthusiastic production of documentary films at the end of the 19<sup>th<\/sup> century and the chroniclers distinguish three \u2018golden eras\u2019 afterwards. The first\u2018golden era\u2019 occupies the period between the 1920s and 1950s, when the Mexican cinematography was among the most prolific in the world and achieved great quality in its productions, and also produced an array of authors and actors that were incredibly popular with the audiences, such as Maria Felix, Dolores del Rio and Pedro Infante.<\/p>\n<p>The second \u2018golden era\u2019 happened at the very beginningof the new millennium with the so-called \u2018Three Amigos\u2019: Alejandro GonsalesI\u00f1\u00e1rritu, Alfonso Cuar\u00f3n and Guillermo del Toro. Last year, Guillermo del Toro won the Golden Lion in Venice for <em>The shape of Water, <\/em>while Alfonso Cuar\u00f3n won the Palme d\u2019Or in Cannes for his film Roma.<\/p>\n<p>Alfonso Cuar\u00f3n is the first Mexican director (and the first Latin American director in general) to have won an Oscar for directing. He did it in 2014 with the film <em>Gravity. <\/em>Alejandro G. I\u00f1\u00e1rritu, on the other hand, has not only filmed the masterpieces <em>AmoresPerros<\/em>and <em>Babel, <\/em>but has also won two Oscars in two consecutive years. In 2015 he won the Oscar for best film for his <em>Birdman, <\/em>while in 2016 he won it for<em>The Revenant.<\/em><\/p>\n<p>And yet, the more serious aficionados of Mexican cinematography cannot ignore the authors such as Carlos Reygadas, Sebastian Hofmann, Julio Chavezmontes, Gerardo Gatica, and Alberto Muffelmann, to which we can add the name of Garcia Gael Bernal as a director of Museum in 2018.<\/p>\n<p>The third \u2018golden era\u2019 is in fact initiated by this new generation of authors, whose careers and thematic interests intertwine with those of the more famous \u2018Three Amigos\u2019. The authors of the six films to be shown during the \u2018Week of Mexican Films\u2019 continue the mission of Mexican cinematography in the 21<sup>st<\/sup> century.<\/p>\n<p>If the melodrama was the trademark of the first \u2018golden era\u2019 and the fierce social drama, mostly happening in the criminal underground, was the trademark of the second \u2018golden era\u2019 of Mexican cinematography, we can say that the strong points of the new \u2018amigos\u2019 vary in genres and thematic inspirations. They do not shy away from comedy, or from \u2018light\u2019 stories with ordinary people as their main characters. These characters are then usually placed in an usual situation that gives rise to the atavisms of existentialism to a greater or lesser extent, such as to apartial mental handicap in <em>La mitad del mundo<\/em><em>\/The Middle of the World<\/em>, gerontophobia in <em>El estudiante\/The Student<\/em>, questioning of personal attitudes in <em>En el ombligo del cielo\/In the Navel of Heavens<\/em>, economic migration in <em>En la Estancia\/ The Land of Silence<\/em>, and xenophobia in <em>Guten tag Ram\u00f3n.<\/em><\/p>\n<p>On the other hand, the only documentary in this selection, <em>Las Sufragistas<\/em> is the crucial piece in the mosaic that wishes to present the social and political <em>momentum<\/em> of the Latin American women in the 20<sup>th<\/sup> and 21<sup>st<\/sup> centuries. <em>The Suffragettes <\/em>is not concerned with the more whining aspect of the topic of women\u2019s rights, but with the dimension of responsibility when women are in positions of political power.<\/p>\n<p>The \u2018Three Amigos\u2019 have not been alone for a long time in their worldwide quest of Mexican cinematography and this is an excellent opportunity to get to know some of their successors.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Stojan Sinadinov \u00a0 \u2018Everything will fall in its right place\u2019 was a sentence that was often used in the Mexican cinematography during the second half of the previous century. And, lo and behold, at the beginning of the new millennium, everything has truly fallen in its right place: Mexican cinematography has yet again become one [&hellip;]<\/p>\n","protected":false},"author":7,"featured_media":784,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3,5],"tags":[],"class_list":["post-800","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","category-program"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>THE NEW MEXICAN FILM: THE SUCCESSORS OF THE THREE AMIGOS - \u041a\u0438\u043d\u043e\u0442\u0435\u043a\u0430 \u043d\u0430 \u041c\u0430\u043a\u0435\u0434\u043e\u043d\u0438\u0458\u0430<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/staging.kinoteka.borkko.com\/en\/the-new-mexican-film-the-successors-of-the-three-amigos\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"THE NEW MEXICAN FILM: THE SUCCESSORS OF THE THREE AMIGOS - \u041a\u0438\u043d\u043e\u0442\u0435\u043a\u0430 \u043d\u0430 \u041c\u0430\u043a\u0435\u0434\u043e\u043d\u0438\u0458\u0430\" \/>\n<meta property=\"og:description\" content=\"Stojan Sinadinov \u00a0 \u2018Everything will fall in its right place\u2019 was a sentence that was often used in the Mexican cinematography during the second half of the previous century. 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