Pilar loses the one thing in life that mattered to her and, from that moment on time stops. The present begins blending with the past, and the heroine withdraws into a world of her own. An intimate drama about the extreme emotions connected to the loss of someone on whom our lives depend. Read More »
Unlike William Wyler’s inferior 1939 film adaptation, Luis Buñuel’s Abismos de Pasión is more than a literate extrapolation of Emily Bronte’s gothic masterpiece Wuthering Heights, which certainly must count as one of the five greatest novels of the English language. Though not overtly surreal, Buñuel’s minor classic is fraught with the kind of feverish contradictions typically heir to his cinematic dogma. Critic Manny Farber observed in his eulogy for Val Newton (published in The Nation back in April of 1951) how Jacques Tourneur’s The Leopard Man gives “the creepy impression that human begins and ‘things’ are interchangeable and almost synonymous and that both are pawns of a bizarre and terrible destiny.” Farber felt the Surrealists had never been able to transform the psychological effects of their dramas into a realm of the non-human but, four years later, Buñuel would accomplish something similar with his very Latin rendition of Bronte’s classic. The film’s dreary exteriors (the trees without leaves, the buzzards on constant alert) evoke a landscape of spiritual unrest, a breezy gateway between the living and the dead. While the film arouses the dreaminess of the original text, death signifies more than the lead couple’s transcendence of the flesh—it’s also a fascinating wish fulfillment. Read More »
Diego (Cirilo Recio) is a cross-eyed, middle-aged man who works as a doorman in a government building and spends the day counting the persons who pass in front of him. His younger wife Blanca (Laura Saldaña) works in a fast-food sushi bar. They do not have much to say to each other after a hard day’s work and so they wile away the hours watching televison. They do have an active sex life with Blanca usually leading the way. One day he arrives home to find her waiting for him nude on the floor with her legs spread wide open.
But the downside of their marriage is her jealousy. When a co-worker’s son is kidnapped, Diego walks her home and embraces her in kindness. Blanca finds out about this gesture and explodes in anger. Her apologies usually consist of sexual favors.
When Karina (Claudia Orozco), Diego’s daughter from a previous relationship, shows up and wants to stay with them, Blanca refuses and he is forced to set her up in a hotel room. She is trying to end a relationship with an addict who has gotten her into drugs. Karina’s inability to deal with the real world puts an incredible amount of pressure on her father in the mysterious last sequence of the film which takes place at a gigantic rubbish dump outside the city. Read More »
A famous cabaret in Mexico City, Salón Mexico was staffed by ficheras, women who charged clients for dancing and, more often than not, for sex. Fernández’s celebrated melodrama tells the story of one such dancer, Mercedes (Marga López) who must fight off the attentions of an abusive pimp while working to finance the schooling of her younger sister. A danzón contest offers salvation, but will Mercedes see her chance of redemption cruelly snatched away? Deliciously dark with noir overtones, its fine performances are matched by Gabriel Figueroa’s superlative cinematography. Read More »
A group of scientists in search of lost Atlantis are plane wrecked on an uncharted island full of stock footage monsters fresh from One Million BC. Occasionally we get an original papier mache monster peaking out from behind an alcove, but for the most part this is typical Mexican filmmaking for the period. With Armond Silvestre and Alma Delia Fuentes. Read More »
This stunning film is one of a few films made by Adolfo Best Maugard (“Fito Best”), the great Mexican painter. Initially banned under the administration of Lázaro Cárdenas, it was released in a badly censored form for a short run under his successor’s administration but was critically panned and disappeared for the next half century. Read More »
Here’s a gem of mexican film making and a must for any real film noir fans.
En la Palma de tu Mano (In the Palm of your Hand) is Roberto Gavaldón’s(Macario1960) masterpiece and one of the best mexican movies ever made.
The movie centers around the Characther of Jaime Karin (Arturo de Córdova from Buñuel’s El) an astrologer and scam artist who gets involved in a game bigger than him. Read More »