Mexico

In this documentary within a narrative-and vice versa-a grandiose filmmaker (Alex Ross Perry) arrives in the Yucatán to scout locations for his new movie, a production that will involve exposing the last extant celluloid film stock on the eve of the Mayan Apocalypse. Instead, he finds himself waylaid by the formal schizophrenia of the film in which he himself is a character. Simultaneously a tribute to and a critique of The Last Movie (Dennis Hopper’s seminal obliteration of the boundary separating life and cinema), La última película engages with the impending death of celluloid through a veritable cyclone of film and video formats, genres, modes, and methods. Martin and Peranson have created an unclassifiable work that mirrors the contortions and leaps of the medium’s history and present. An Art of the Real 2014 selection. A M’Aidez Films release (C) Lincoln CenterRead More »

What starts out as a beautiful peaceful afternoon in the Caribbean quickly turns ugly when a Cyclone takes down a Jet plane killing most of its passengers. Out at sea about the same time is a group of tourists on a boat who are now lost at sea due to the storm knocking out all their navigation devices. The group of tourist’s on the boat come across the survivors of the jet plane as they drift aimlessly out at sea. Tensions start to build between the survivors of the Cyclone as the supplies dwindle and the days go by with no hope of rescue in site. Will they be rescued before they turn on each other?Read More »

Synopsis: A woman who is about to die calls the town’s priest and hands him a scapulary, saying that she knows of its great powers. Anybody who does not believe in them will end up dead.

In the times of Mexican Revolution, a dying woman sends for the young priest of the village, she confesses to him that she has a miraculous scapular which has the power to protect the life of the owner; before she dies, she tells the skeptical priest how the scapular saved the life of her four children, thus reviving four incredible crossed stories.Read More »

A poor man in his mid seventies lives alone in a house near the beach in the south of Mexico. He doesn’t have the and deed and a foreign man claims the property is his. The man attends a hearing to solve the conflict, but nothing gets resolved. During this time he starts losing his mind. Memories of the past start hunting his daily life. He ends up losing his property and his house gets demolished. He embarks on a journey to the mountains in search for people he knew in the past. A memory of his younger self hunts him throughout the trip. He ends up finding some people he knew, but no one he can stay with, so he continues wandering through the forest and into his memories. He meets his younger self, but doesn’t recognize him. They get drunk together, sing songs of the past and nearly pass out after a long night of drinking.Read More »

Quote:
Abandoned by their girlfriends for the summer, teenagers Tenoch and Julio meet the older Luisa at a wedding. Trying to be impressive, the friends tell Luisa they are headed on a road trip to a beautiful, secret beach called Boca del Cielo. Intrigued with their story and desperate to escape, Luisa asks if she can join them on their trip. Soon the three are headed out of Mexico City, making their way toward the fictional destination. Along the way, seduction, argument and the contrast of the trio against the harsh realities of the surrounding poverty ensue.Read More »

Synopsis (University of California, Berkeley Art Museum & Pacific Film Archive)
Within the framework of a thriller, Hermosillo presents in Matinee a film that is rich in the dreams and ambiguities of childhood. Two precocious provincial boys, enamored of the movies, head out for Mexico City in search of some real-life adventure. They are kidnapped by a gang of gunmen who adopt them as mascots, but also involve them in their cutthroat activities. The criminal escapades are a dream-come-true for the boys, until the police come into the picture and they are forced to betray their kidnappers. The boys are returned to the provinces as hometown heroes–returned to the quiet streets and the dubious thrill of the Saturday matinee. Hermosillo recalls the black humor of Buñuel and the boyhood adventures of Robert Louis Stevenson and Mark Twain; and like them, he rejects the innocence of childhood for something more complex, which, though it is never defined, is the subject of Matinee. Read More »

Pereda’s films pass through a transitional period; Los mejores temas was probably a conscious farewell to a filmic representation system while Matar extraños turned out to be an enigmatic first test; El palacio is a new attempt at renovation, an experiment. These last two films show a novel element —the shifting of the family and domestic spheres to a public and political space. Whereas Matar extraños used revolution as its focal concept, in this enigmatic film the microphysics of power is the permeating idea.
The opening wide shot is brilliant; the 17 women who appear in this film are washing their teeth at the same time. Among this group there are little girls, young and old women, and they are not at a bathroom but at a patio filled with large sinks. Their activity unites them, though their experiences and, eventually, their functions differ. Where are they? For several minutes the only thing we will see are the diverse cleaning-related actions performed by these women. Everything happens in an old house, without any indication of its location. Abstraction and routine. Pereda is capable of filming someone hanging clothes to dry or making a bed as if those were aesthetic events.
A donkey wonders around and imposes a comical tone for a moment; but a donkey is an animal used for servitude. And the title of the film mentions a palace.
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Review
Highly stylized
Noted Mexican filmmaker Arturo Ripstein (Deep Crimson) presents a highly stylized, almost stagebound, erotic melodrama about life in the 1940s in Mexico (filmed in the lush style of 1940s melodramas). It’s based on the story by Max Aub and penned by Alicia Paz Garciadiego. The narrative is in the form of a repetitious parable that is overlong, hitting many dull spots and at times insufferable to watch. It stays on message to show a series of themes (colonialism, class warfare, racial and idealogical divisions and revolutionary fervor in both Franco’s Spain and Mexico) based on real historical events and combines it with the fictional story of the willing enslavement to the upper-class of the peasant Indian Mexican named Nacho (Luis Felipe Tovar).
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From IMDb

Love story between a young girl and a police man, both of them had connections with drugs but in opposite ways. This will create a conflict that love will try to overcome.

Heli (Armando Espitia), the protagonist of Amat Escalante’s 2013 Palme d’Or nominee of the same name, is a young Mexican who lives with his father, his son, his young wife (Linda Gonzalez) and 12-year-old sister, Estella (Andrea Vergara). He’s prone to bad luck, keen on his naps and, when a census taker comes to the house, hesitates about how many people live there with him. However, when 17-year-old army cadet Beto (Juan Eduardo Palacios) falls in love with Estella and makes plans for the two of them to run away together, Heli’s cataclysmic knee-jerk reaction will plunge the family into pitiless and brutal violence.Read More »