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MEXICAN CINEMA

MEXICAN CINEMA

Beginning in the early 1930s and continuing for a quarter-century, Mexico was home to one of the world’s most colorful and diverse film cultures: not many other countries could claim a comparable range of production, diversity of genres and number of master filmmakers.

 

Starts as the Hollywood style became very popular internationally.

 

 

The excellence of Mexican cinema was founded on its commercial strength – Mexico supplied all of the Spanish-speaking markets in Central and South America, and delivered several box-office successes in the United States as well. During the thirties, the country also became an important refuge for European exiles. Numerous filmmakers and craftsmen had their own (usually semi-secret) Mexican Period, and German-born Alfredo B. Crevenna became Mexico’s most prolific director. In the 1940s, few other film cultures were quite as potent.

 

Directors Fernando de Fuentes, Emilio Fernández, Luis Buñuel, Juan Bustillo Oro, Adolfo Best Maugard, and Julio Bracho sought to create a unique national cinema that, through the stories it told and the ways it told them, was wholly Mexican.

 

The Classical Mexican Cinema traces the emergence and evolution of this Mexican cinematic aesthetic, a distinctive film form designed to express Mexican culture.

 

Today, the riches of this Golden Age and its masterpieces have been nearly forgotten.

 

 

Film Museum and VMFF

 

Alejandro Gonzalez Inarritu makes Oscar history with best director win

 

 

 

 

 

 

 

 

 

 

 

 

With this win, Inarritu has entered the history books, becoming the first director since 1950 to bag the best director trophy two years in a row.

 

John Ford won in 1940 and 1941, for “The Grapes of Wrath” and “How Green Was My Valley”, respectively; Joseph L Mankiewicz won in 1949 with “A Letter to Three Wives” and in 1950 with “All About Eve”.

 

“I can’t believe this is happening. It is amazing to receive this award. I would like to share this with my cast, collegues and crew members who made this film possible. Leo (Leonardo DiCaprio), you are the revenant,” Inarritu said in his acceptance speech.

 

George Miller for his exhilarating action film “Mad Max: Fury Road” was probably Inarritu’s biggest competition for the Oscars. But Inarritu became a clear frontrunner to win best director for “The Revenant” after pulling off a victory at the Directors Guild of America awards. He also won a Golden Globe.

 

Last year, Inarritu took home the best director Oscar for “Birdman or (The Unexpected Virtue of Ignorance)” and his film also won the best picture award.

 

The movie is an astonishing visual achievement that involved a painstaking shoot and great physical sacrifices from its star, cast, and crew.

 

Just by getting nominated, Inarritu entered into the rare company of people, becoming the first filmmaker in over 30 years to pull off a nomination the year after winning.

 

Inarritu’s road to victory was not all that easy as he saw off a very tough competition from Tom McCarthy (“Spotlight”), Adam McKay (“The Big Short”) and Lenny Abrahamson (“Room”).

 

Indian Express

 

Alejandro G. Inarritu poses in the press room with the award for best director for “The Revenant” at the Oscars.

 

Mexican filmmaker Alejandro Gonzalez Inarritu has become the first repeat winner in 65 years at the Academy Awards by taking home the best director Oscar for “The Revenant”, his brutal period piece starring Leonardo DiCaprio.

 

 

Oscars: Emmanuel Lubezki Becomes First Cinematographer to Win Three Consecutive Academy Awards

He has now won Academy Awards for 'The Revenant,' 'Birdman' and 'Gravity.'

 

 

 

 

 

 

 

 

 

 

 

 

 

The win also makes him the eighth cinematographer to win a total of three Oscars, joining, among others, Freddie Young (Lawrence of Arabia), Conrad Hall (American Beauty), Vittorio Storaro (Apocalypse Now) and Robert Richardson, who was nominated for an Oscar this year for The Hateful Eight and previously won Oscars for Hugo, The Aviator and JFK. Only two cinematographers have won a record four Oscars in the category: The late Leon Shamroy (Cleopatra) and the late Joseph Ruttenberg (Gigi).

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

With his win for Alejandro G. Inarritu's The Revenant, director of photography Emmanuel “Chivo” Lubezki has become the first person to win three consecutive Oscars in cinematography. He previously won Academy Awards for Inarritu’s Birdman in 2015 and Alfonso Cuaron's Gravity in 2014.

 

"This is incredible," Lubezki said. " I want to share it with the cast and crew, especially with my compadre, Mr. Inarritu. To your passion, Alejandro. And I want to share this also with Leo [DiCaprio] and Tom [Hardy], for their great performances."

 

Last year, Lubezki became one of four cinematographers to win back-to-back Oscars, joining John Toll (Legends of the Fall in 1995 and Braveheart in 1996), the late Winton Hoch (Joan of Arc in 1949 and She Wore a Yellow Ribbon in 1950), and aforementioned Shamroy (Wilson in 1945 and Leave Her to Heaven in 1946).

 

Lubezki, born in Mexico City in 1964, also won his fourth BAFTA in four tries earlier this month in London. It was also his third BAFTA in as many years.

 

Earlier this month he also got his third American Society of Cinematographers Award in a row for The Revenant and his fifth overall.

 

The Hollywood Reporter

Viva Mexico (Sergei M. Eisenstein's Movie)

Que Viva Mexico! was filmed in 1932 but had an important influence over Mexico's early days of cinema.

 

The aesthetics and recurring topics of this film can been seen frequently through other Mexican films during the "Golden Age" of Mexican cinema.

 

The film is a tribute to the Mexican Revolution, the Mexican people themselves, their culture and their traditions.

 

The director wanted to reflect this culture in the film,  both as it was rooted in the past and during times of transformation.

 

Eisenstein divided Que Viva Mexico! into four sections: "Sandunga" , "Maguey" (the name of the plant from which the drink Pulque is produced), La Fiesta (Traditions)  and La Soldadera (the female soldier).

 

VMFF

María Félix an icon of the Golden Age of Mexican Cinema

(María de los Ángeles Félix Guereña), (born May 4, 1914, Álamos, Sonora, Mex.—died April 8, 2002, Mexico City, Mex.) Mexican actress who , used her extraordinary looks and fiery personality to propel herself from unknown to overnight star to icon of beauty in Spanish-speaking countries.

 

Her succession of husbands, one of them the composer Agustín Lara, and famous lovers, including the artist Diego Rivera, gave her an offscreen life that rivaled that of the strong, fierce, and glamorous on-screen characters she portrayed in her 47 films.

 

Félix, one of 16 children in her family, married while she was still in her teens. The marriage did not last, however, and she moved to Mexico City, where a movie director spotted her and paved the way for her first role, in El peñón de las ánimas (1942). Her film Doña Bárbara (1943) thoroughly established her stardom, so much so that she was thereafter often called “La Doña.”

 

 

 

For some three decades Félix was a major box-office draw, not only with Mexican films, including Enamorada (1946) and Río escondido (1948), but also with Argentine, French, Italian, and Spanish movies, such as French Cancan (1955), La cucaracha (1958), and La Fièvre monte à El Pao (1959).

 

Félix’s final film was La generala (1970), and she then appeared in the television series

La constitución (1970). Her autobiography, Todas mis guerras, was published in 1993.

 

                                                                                                   Encyclopædia Britannica

 

 

 

 

 

 

 

 

 

 

 

 

 

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