Kristen Stuart Weight

Specimen # 11: Arturo Aguilar

Arturo Aguilar, film critic Reporte Indigo is part of the new breed Mexican film critics. Not only for her youth or because he writes for a Web site, but also because it has a young and innovative vision of what is good cinema. Arturo also boasts he knows perfectly the scene national film industry. Arturo shown in your favorite movies that has a varied and eclectic taste, ranging from the Reygadas film auteur, with big hits like "Amores Perros.

1) What are the top 15 in the 2000-2009 Mexican films?

(in strict alphabetical order)

Amores Perros (Alejandro González Iñárritu)

Nora (Mariana Chenillo)

Cumbia (René Villareal)

The hole (Juan Carlos Rulfo)

Pan's Labyrinth (Guillermo del Toro)

Silent Light (Carlos Reygadas)

Thousand Clouds of Peace Fence the Sky, Love Will Never End to be love (Julián Hernández)

Blue Eyelids (Ernesto Contreras)

Presumed Guilty (Roberto Hernandez)

Unnamed (Cary Fukunaga)

Duck Season (Fernando Eimbcke)

Tracing Aleida (Christiane Burkhard)

The last heroes of the peninsula (Cravioto JM)

El Violin (Francisco Vargas)

Y Tu Mama Tambien (Alfonso Cuarón )

2) What issues of concern to contemporary Mexican filmmaker?

There seems to be a general trend or collectively. It is in all cases of attention and personal obsessions. Specific comments offered at the end a wide range but not quite varied. There is not much rural and other urban movies. There is much drama and cinema essay, but little social portrait in a tone of entertainment and consumer film (as there are in the English cinema, Argentina or Brazil ... nobody wants to make movies of consumption seems everyone wants to be 'authors') in which the public's being portrayed.

is especially introspective aspects of human and emotional radiographs Mexican context but where the fund does not come to the forefront except on rare occasions. Furthermore, in the current context of world cinema, filmmakers tend to find issues that may be universal but certainly identification with that tone sometimes folkloric of Third Mexican or Latino, or idiosyncratic around here.

3) Does the film accurately reflects this period la sociedad?

Podría decirse que se encuentra a la mitad de un proceso que lo llevará a reflejar mucho mejor la diversidad social y cultural de nuestro país. Si bien aparecen ya cintas con temática hasta antes inimaginable, la inexistencia de cinematografías regionales que acerquen esas realidades a otras zonas del país deja un hueco importante respecto a lo que el cine podría hacer social y culturalmente. Un problema que no es sólo de realizadores, propuestas o producción, sino de las limitaciones que hay a nivel distribución y exhibición para que este cine encontrara eco y espacios adecuados en la cartelera.

4) How do Mexican cinema reflected the political, social and cultural rights of the decade?

With warmth or distance. Critical or deep portrait of social change has not been captured by the film until the last years of this period. Commercial cinema has not been able to offer gender comedies or films (action, thriller) that accurately portray these changes or new social settings and therefore has not found an appropriate echo with the public.

Few tapes that are rescued about either through the satires of Luis Estrada or the work of a few (but very based) filmmakers as Ernesto Contreras, Fernando Eimbcke, Julian Hernandez, but especially in the field of documentary, where Mexican cinema continues to stand out and offering interesting films in form and / or background.