Alan Coton is a director and screenwriter SOBA, Nesio, Sofia and numerous short. Coton, according to the audience Paxton Hernandez, "is one of the few contemporary Mexican filmmakers who understand the importance of dialogue." In his films portraying the violence-laden urban Mexico, daily tragedies, stories of impossible love, of worldly characters full of flaws, aspirations and dreams.
Alan Coton, extremely visceral and realistic filmmaker, is one of Mexican filmmakers today's most daring, for his film runs counter to the current formula of Mexican cinema one who is contemplative, as Paxton Hernandez would not understand the importance of dialogue.
1) What are the 15 best films of the 2000-2009 Mexican?
- "Los Bastardos" Escalante, "Adam and Eve, yet" Avila, "The Divided Sky" Hernandez, "Japan" Reygadas, "Second Century" by Jorge Bolado, "And Tu Mama Tambien "Cuarón," El Gavilán de la Sierra "De la Riva," Perfume Violets "of Sistach," So, "Lozano," Real Time "Prada," Fandango "by Sisniega," 24 boxes of terror "Gonzalez," Turtle Family "de Imaz," Erendira, the indomitable "de Mora; "Cumbia" from Villarreal.
2) What issues of concern to contemporary Mexican filmmaker?
"The society that surrounds it and how to reflect in a given system medio0 and / delimited.
3) Does the film accurately reflects this period of society?
- inescapable. There is always an intimate and inevitable reciprocity between cinema and society. The film is an indirect reflection of all the thoughts, doctrines, hopes, desires, prejudices, habits, news, conflicts and environments that are manifested at every turn. But not "just" a reflection, is both a force of transformation own moral, ideological and behavior of that society in a historical context. So his interpretation is so rich for different areas of knowledge, as in every film HISTORY hides lurking, hidden within a complex organization of propositions and economic interests, personal, political and artistic. Unravel it always becomes an invaluable information and understanding of a given society.
4) How do Mexican cinema reflected the political, social and cultural rights of the decade?
- Our Mexican films were, in this decade (as it always has been, thankfully) quite rich in its various forms, even if sometimes they do not we like or are negative or otherwise too "light" because it showed what we are: our culture, that as such, has been commissioned to reflect and transcend us in any art anywhere in the world. Often heard complaints from some social classes in the sense that most of our film shows "the worst" of the Mexicans, doing more than obvious how much we hate to see us displayed on these screens, easily forgetting that a filmmaker is the son of time and society where they live. We respond to these claims as do the painters: "I just paint what I see. "
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