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In the 1990s, the cinema of Mexico has clearly established itself as the leading cinematic movement in the Spanish-speaking world. Contemporary Mexican films like Como Agua Para Chocolate, Cronos, Danzón, La Mujer de Benjamín, and numerous others have captivated audiences and critics alike.
Since the late 1980s to the present, the cinema of Mexico has been engaged in a process of flowering and artistic growth. This article will address the factors that account for this cinematic renaissance, outline the generations of filmmakers who are most responsible for this rebirth and discuss the major trends of Mexican films in this contemporary era.
I. The Cinematic Renaissance
There exist various factors that account for the rise of artistic cinema in contemporary Mexico.
The role of the state
The policies of the state, and the government officials named in charge of film policy are critically important in the ensuing process. In 1989, the incoming Carlos Salinas de Gortari’s administration designated Ignacio Durán Loera as director of the influential Instituto Mexicano de Cinematografía (Mexican Film Institute, IMCINE). This choice has proven to be one of the very best political appointments of the sexenio.
Ignacio Durán’s agenda and policies, created the material conditions and the ambiance for a new dawn in Mexican cinema. He favored and supported new talent to be introduced into the industry, revised the production formula of the IMCINE, aggressively sought out additional co-producers (who provided more resources for production), implemented a policy that sought to more substantially exhibit Mexican cinema nationally and internationally, and fostered research and publications on various aspects and themes of Mexican cinema.
The film schools
Of singular importance to this cinematic rebirth is the maturity and the development of the two major film schools in Mexico. Proof of this is the fact that over 90% of the filmmakers that have debuted since 1988 to the present are alumni of Mexican schools of cinema. Both the Centro Universitario de Estudios Cinematográficos (University Center of Film Studies, CUEC) and the Centro de Capacitación Cinematográfica (Center for Film Realization, CCC) now have excellent faculty and technical facilities which have produced an impressive generation of individuals, both men and women, who have excelled in all facets of filmmaking. Not only in film direction, but in photography, sound, set decoration and musical scores has outstanding talent and great artistry been most evident in these last years.
Directors
Another factor that has accounted for the recent rebirth of Mexican cinema has been the multitude of directors that have completed feature films. In this period, the combined talent of three generations of Mexican filmmakers have converged on the scene: the generation of 1968, the “generation of the crisis”, and the generation of the 1990s.
1. The generation of 1968. This generation came into the forefront in the decade of the 1970s and collectively brought about an important cinematic movement. After 1976, this generation became marginalized largely because of inconsistent and arbitrary state cultural policies. Currently, however, certain of its members returned to their craft like Alberto Bojórquez, Felipe Casals, Jaime Humberto Hermosillo, Sergio Olhovich, and Julián Pastor. Their films reflected lack of continuity, and showed that in most cases their best work was behind them. Films like Bartolomé, Cómodas Mensualidades, Encuentro Inesperado, Kino, La Tarea Prohibida, and Los Años de Greta were some of the major disappointments.
Yet, other directors of this generation not only made a most successful return, but were responsible for some of the most acclaimed films of the contemporary period. Most recently, veteran director Alfonso Arau combined artistic worth with commercial success to create the visually beautiful, Como Agua Para Chocolate. Breaking all box-office records, Como Agua Para Chocolate has now become the highest grossing foreign film in the United States. Its popularity transcended the Americas, popularizing Mexican cinema worldwide.
Artoro Ripstein scored well with his dark powerful drama, Principio y Fin. Yet consistent with the unevenness of his career, two other of his 1990s films, La Mujer del Puerto and Reina de la Noche did not fare well with audiences or critics.
2. The “generation of the crisis.” This generation of transition directors debuted in the early to mid-1980s under difficult material conditions. Their initial works were certain of the most impressive contemporary features. The members of this generation continued their careers in the 1990s. Alberto Cortés, Juan de la Riva, José Luis García Agraz, and Alejandro Pelayo directed interesting and important features, although, as a whole, their recent productions fell short of earlier efforts. The lengthy period elapsed between productions, the concessions made to producers, and the change in producers accounted for the marked distance between their initial films and recent ones.
3. The generation of the 1990s. It would be, however, a new generation of filmmakers that would contribute a body of work which in actuality began the flowering of the contemporary cinema of Mexico. This recent “generation of the 1990s” has achieved, in a brief period, high praise and critical acclaim from both national and international cinema circles. As a group, they debuted with full-length films in the late-1980s and early-1990s. In general terms, the directorial generation of the 1990s encompasses the following characteristics:
A.This generation developed a fruitful working student-teacher relationship with the previous generation of 1968.
B. Unlike previous directors, the filmic generation of the 1990s has established much more control over the final cut of their films and other aspects of their productions. The material conditions of the country and the current cinematic policies have forced these young directors to become much more creative and involved in all aspects of filmmaking including not only directing, but fundraising, production, exhibition, publicity, and distribution.
C. Since the state has diminished its role as sole producer, the generation of the 1990s has been forced to seek and form new production partnerships, cooperatives or international co-productions.
D. Unique in the history of the cinema of Mexico is the fact that numerous directors of the generations of the 1990s are women. Busi Cortes, Guita Schyfter, Dana Rotberg, and Marisa Sistach have completed at least two feature films. María Novaro has recently premiered her third film.
E. The influence of documentary filmmaking is most evident in the films of the contemporary generation. Many of the current directors began as documentary filmmakers, and some continue to film documentaries.
F. Besides the above mentioned women directors, other members of this generation are: Luis Carlos Carrera, Alfonso Cuarón, Juan Carlos de Llaca, Erwin Neumaier, Ignacio Ortíz, Federico Sariñana, Roberto Sneider, and Juan Carlos Valdivia.
II. Cinematic Trends of the 1990s.
Recently, certain trends and themes have been dominant in Mexican cinema. First and foremost is the large number of individuals that have debuted since the late-1980s. Not just directors, but many others in critical roles of filmmaking made their appearance. Photography, screen writing, production, set decoration, and musical scores, all displayed new impressive talent.
A second major trend is the increased participation of women in all phases of filmmaking. In no period of Mexican cinema have women become such a major force in acting, directing, production, screen writing, musical scores, costume design and art direction, women are in the forefront. As a group, the actresses that have debuted in the current era, such as Lumi Cavazos, Gabriela Roel, Dolores Heredia, Claude Malle, Lisa Owen, Arcelia Ramírez, and Evangelina Sosa are all excellent artists.
Thirdly, one can note the diversity of themes in the recent films of Mexico. Foremost are productions such as La Tarea, Lola, Vagabunda, Los Pasos de Ana, El Secreto de Romelia, Danzón, Serpientes y Escaleras, Miroslava and Gertrudis, that address women’s issues, alternative lifestyles, family and work, gender consciousness, gender roles, individual empowerment and women in history.
Regional themes of Mexican society are found in Danzón, Pueblo de Madera and El Jardín del Edén, which is the only recent major production to focus upon the border and Chicano experience.
Politics were well-represented by Días Dificiles, El Bulto, Los Vuelcos del Corazón, Morir en el Golfo, Playa Azul and Rojo Amanecer. Of these films, the most innovative and important was Rojo Amanecer, the first feature film to squarely focus on the student movement of 1968.
The contemporary social crisis in all of its individual and societal dimensions was clearly reflected in such productions as Angel de Fuego, El Costo de la Vida, Golpe de Suerte, and Lolo. These films projected the critical nature of the current situation and the disintegration of values and institutions in Mexico.
Adventure and science fiction was also a theme of preference by recent directors in such films as Bandidos, Cronos and El Largo Camino a Tijuana.
Three outstanding films, thrillers with anti-heroes as protagonists are, En Medio de la Nada, Hasta Morir, and Dos Crímenes.
AIDS awareness was dealt with in two excellent productions, Solo Con Tu Pareja and Bienvenido/Welcome.
III. A Final Note
Currently, there is much to look forward to in the immediate future of Mexican cinema. Not since the early-1970s has there been such a positive climate for art cinema. Although conditions might change, there exists an abundance of exceptional talent in all phases and areas of filmmaking in Mexico. Thus, it could be predicted that Mexican cinema will have an exciting future as well as a glorious past.
This article was originally published in the 1995 festival program of Cine Estudiantil: Chicano/Latino & Native American Student Film & Video Festival.
For more information regarding these articles and/or to submit an article yourself,
please contact Ethan van Thillo at sdlff@sdlatinofilm.com
San Diego Latino Film Festival,
c/o Media Arts Center San Diego,
2039 29th Street,
San Diego, CA 92104TEL: 619.230.1938, FAX: 619.234.9722,
sdlff@sdlatinofilm.com, www.sdlatinofilm.com
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