Flama and Moko are fourteen years old; they have been best friends since they were kids. They have everything they need to survive yet another boring Sunday: an apartment without parents, ... See full summary »
In the midst of the incessant din of the Paradise Café's kitchen in the rush hour, Gallo rehearses his heroic resignation, with which he hopes to recover his youth, his dignity and even win the love of Susan.
Rosario Castellanos is an introverted university student who doesn't seem to belong to her time. In the early 1950s in Mexico City, she is fighting to have voice heard in a society run by ... See full summary »
Daniel Giménez Cacho,
Claudia, a lonely young woman, works in a supermarket. One night, she ends up in the hospital with a severe case of appendicitis. There, she meets Martha, the woman resting in the bed next ... See full summary »
Director Alonso Ruizpalacios admitted that when he handed the script to Tenoch Huerta he said "this is crap and you are making fun of the people in the strike". But a few days later Tenoch called him to ask how much they were paying and he accepted to play his part in the movie just for the money. See more »
GÜEROS doesn't emerge as a comprehensively outstanding film in spite of its uniqueness
A voguish feature debut from Mexican filmmaker Alonso Riuzpalacios, shot entirely in Black and White with an uncommon 1.37:1 aspect ratio. GUEROS is a pristine debut full of promise but also sink into the filmmaker's own ideal existential wallow.
In the opening scenes, the film directly prints the explanation of the word "güeros" on the screen, in case us foreign audience cannot catch the meaning, and it proposes two options, it is either a discrimination against colour or against homosexuality. And the film only deals one of the two. Set the backdrop of an undefined time (where Walkman is still popular, I suppose, should be in the 90s), Tomás (Aguirre) is a young boy lived with his widow mother, being too naughty, he is sent to live with his big brother Federico aka. Sombra (Huerta), who is a college student living with his roommate Santos (Ortizgris) in their messy apartment.
While the university students are in the middle of a massive strike. The trio lay around in the apartment doing nothing. Since Tomás is a devotee of an over-the-hill musician Epigmenio Cruz (Charpener), who is sent to hospital due to poor health, the news triggers his quest to find him and ask for an autograph. So the story maunders around a two-day road trip, en route they visit the hospital, bump into some dangerous thug, reunite with Ana (Salas), a fervent activist student in the campus, party-crash, go to the zoo while Sombra has to face his worst nightmare, a tiger, and eventually track down Epigmenio in a remote cantina. Ostensibly, it is another plot-doesn't-matter ethos-journey combined with political agenda, budding romance, surrealistic touch, fly-on-the-wall realism and the dry humour.
The picture exudes appealing élan thanks to its swift camera movement, monochromatic freshness and the idiosyncratic treatment of the fictional Cruz's music - a muffled void defies categorisation. But, the momentum doesn't hold up, soon, the journey deflates into an aimless wander, pry into the underbelly of a contemporary Mexico but never reach a cinematic catharsis or produce any prospective worth of excitement, the main characters are bankrupt of any empathy or charisma to keep up audience's attention of their often arbitrary behaviour. It is a film eventually fails to live up to its master-class craftsmanship, but considering its successful tournament in the international festival circuits, I might again find myself in a minority of one, to each his own taste, GÜEROS doesn't emerge as a comprehensively outstanding film in spite of its uniqueness.
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