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„Der Film , Thaïs‘ und die Photodynamiken von Anton Giulio Bragaglia“ (CROSBI ID 57344)

Prilog u knjizi | stručni rad | međunarodna recenzija

Erstić, Marijana „Der Film , Thaïs‘ und die Photodynamiken von Anton Giulio Bragaglia“ // Directory of World Cinema: Vol. 17: Latin America / Isabel Maurer Queipo (ur.). Bristol: UCP, 2012. str. 75-77

Podaci o odgovornosti

Erstić, Marijana

engleski

„Der Film , Thaïs‘ und die Photodynamiken von Anton Giulio Bragaglia“

Mexican director Alfonso Cuarón’s 2001 film, "Y tu mamá también" is a road movie that, on the surface, appears to depict the hedonistic world of Mexican youth. Through the adoption of an omniscient narrator and its enduring landscape shots the film not only tells the story of its adolescent protagonists but also comments on socio-historical aspects of modern-day life in Mexico. This tendency culminates in the film’s concluding scenes. Synopsis: The tragicomedy relates the initially conventional coming-of-age story of two teenage friends from disparate socio-economic backgrounds, Tenoch and Julio. Diego Luna alias Tenoch Iturbide is the son of a well-respected politician and associate of the Mexican president. His character’s name is a combination of the name of Mexico’s first emperor Agustín de Iturbide and Tenochtitlan, the seat of the Aztec Empire, and emphasizes the protagonist’s privileged lineage. The other teenager, Julio Zapata, played by Gael García Bernal, is clearly named after the Mexican revolutionary Emiliano Zapata. Fittingly, in the film he is also the son of a single mother who works as a secretary. During the summer of 1999, while their girlfriends are away on a trip to Europe, Tenoch and Julio decide to embark on a trip of their own. At a wedding they meet 28-year old Luisa Cortés from Spain, who is clearly named after the conquistador Hernán Cortés and plays the wife of Tenoch’s cousin, a writer. The two friends invite Luisa to join them on a trip to a beautiful imaginary beach. She decides to travel with them after learning that her husband has had an affair. Their journey takes them to the South of Mexico and, eventually, to a beach on the Pacific coast. The trio’s erotic relationship culminates in a ménage à trois. Tenoch and Julío, one from a privileged and one from a poor background, appear to personify the class system in modern-day Mexico and, initially, overcome social class barrierrs. The movie’s final scene, however, in which Tenoch and Julío meet by chance in a café after not having seen each other for some time, depicts something else. In the café Julío learns from Tenoch that shortly after their travels together, Luisa died of cancer. There is not much else that the two, now young adults, find to say to each other. This remains their last encounter. The class barrier that the film seeks to dissolve remains in place at the end of "Y tu mamá también". In the end, the departure from their everyday teenage lives that their travels meant for them merely welds Tenoch and Julio more strongly to the social reality of their own environments. Critique: The film "Y tu mamá también" can be interpreted as a road movie. It makes use of individual themes that characterize the road movie: these include love and friendship, but also revenge. Further, it includes such motifs as escape, odyssey and search for the holy grail, and structurally the vehicle serves as means of transportation from one scene to the next. Moreover, the journey by car delivers scenes that are essential to the movie. As in just about every road movie, in this film the vehicle carries not only people, but also their dreams of freedom and independence and especially their dreams of adulthood. This road movie, like others, conveys foremost a sense of contemporary life, in the form of the characters’ hedonism. And yet there are no speed scenes in this apparently conventional road movie. The adolescents travel in their car at a leisurely, slow pace. The way in which the three protagonists are depicted is of critical importance to this film. The reflective French cinema of the 1950s and 60s, the Nouvelle Vague cinema, seems to have served as inspiration here. The influence of this cinematic movement is evident in the use of an ever omniscient off-screen narrator who figures in the numerous socially critical scenes in the movie. The multi-layered narration puts the characters at a considerable distance. Beyond what is spoken, the images also question in a critical way. It is as though the pictures of the journey are telling another story, one beyond that of Julío and Tenoch’s sensual indulgences and in the midst of another, rural, exploited Mexico. The roaming camera, in the hands of Emmanuel Lubezki, never stands still during the movie ; rather, it creates disturbances and irritations. These include a cross filmed from within the car, planted at the side of the road in remembrance of an accident victim, a police barricade that the adolescents successfully avoid, or a funeral cortège that only Luísa seems to notice through the windshield. These sometimes drastic images have the same effect as the off-screen commentary. They unsettle the viewer, keep the viewer alert and create a distance between the viewer and the ostensibly oblivious teenagers. For the two younger protagonists the surroundings are monotonous. The teenagers Julío and Tenoch—in contrast to Luísa—do not appear to reflect on these fleeting snapshots of life outside the car. In effect, according to the director and co-author of the script, the film is about „the class system, the many different Mexicos that co-exist in time and place but appear unrelated to one another.“ This view of the landscape framed by the car windows and the comments of the off-screen narrator give this osetnsibly conventional film its critical edge.

Alfonso Cuarón,

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Podaci o prilogu

75-77.

objavljeno

Podaci o knjizi

Directory of World Cinema: Vol. 17: Latin America

Isabel Maurer Queipo

Bristol: UCP

2012.

978-1-84150-618-0

Povezanost rada

Filologija, Znanost o umjetnosti