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 Entertainment | March 2008 
Rudo y Cursi and the Unshakable New Mexican Cinema
 Luke Sheldon - PVNN
| | In the next few months movie fans will witness the release of Rudo y Cursi, a sure-fire hit starring the two hottest names in Mexican cinema; Gael Garcia Bernal and Diego Luna. | | |
In the next few months movie fans will witness the release of Rudo y Cursi, a sure-fire hit starring the two hottest names in Mexican cinema; Gael Garcia Bernal and Diego Luna, reunited for the first time since the world famous Y Tu Mamá Tambien.
The soon to be premiered film is about two brothers playing for rival soccer teams, a story of love and hate. Some hope that films such as this will rejuvenate the Mexican film industry, helped somewhat by tax incentives that are threatened now under Calderon's efforts at tax reform.
Over the last 20 years "New Mexican Cinema" has kept Mexico in the International spotlight; Like Water for Chocolate (1992), Cronos (1993), Amores Perros (2000) and Y Tu Mama Tambien (2001) have been highly praised throughout the world.
Mexican cinema has been struck by a plague of Americanization. The relatively tiny budgets of Mexican films limit them from competing with the current Hollywood trend of computer-enhanced spectacles and flawless red-carpet actors.
However, the recent gems of Internationally praised film from Mexico have felt a lot like the US art-house classics of the 1970's. You can clearly see the claustrophobic urban decay and strained violent relationships, all with an undercurrent of humor that was so perfectly captured by Scorsese and Kubrick.
The biggest restriction to a cinematic renaissance is financial. The more renowned directors tend to work outside Mexico like Iñarritu (Amores Perros, Babel) and Del Toro (Pans Labyrinth, Mimic) due to limited funds. Homemade films get a small return - after marketing, taxes and distributor fees, the producer can look to retain around 15 percent of the profits.
Up-and-coming directors have to rely on the exposure of film festivals, such as Cannes or Guadalajara, because investors are wary to put money into anything that's not a guaranteed smash.
Most movies in the US are backed by studios owned by huge media conglomerates, and so a flop at the box office is merely a mistake to learn from. Mexican operations are stand-alone, relying on a handful of investors and small government subsidies. If a film fails here, it's a big deal.
Living outside of the Americas makes being a fan of Mexican cinema a test of dedication. Only the raved-about festival winners get exposure, a sad case when considering how well Mexican films could sell in an International market.
The Americanization of cinema has led to an abandonment of originality. If you know what sells, why make anything out of the ordinary? Why make an 18 rated movie if it means cutting out a large slice of the audience?
The relentless appeal of Gael Garcia Bernal assures the success and adoration of Rudo y Cursi. The Mexican film industry has a lot to offer, but not much money to do it with. If it were to take off in a way that cinema in the Far East has - it would be huge.
The new gang of art-house directors here create uniquely Mexican films. Foreign viewers get something fascinating and exotic - and Mexican movie goers get to watch something that shows the world the artistic potential of New Mexican Cinema. |
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