In 2006, Hernández introduced a romantic conflict between two young men, in a university context. The film receives a better reception but does not manage to obtain a good diffusion. In 2009, for the first time, with Rabioso sol, rabioso cielo (Enraged Sun, Enraged Sky), the distribution of a Hernández film was guaranteed from the start. Three great films and a few decades of cinema were necessary to break down the homophobic barriers that have long hindered the path of cinematographic fiction. In https://real-primewire.com you will have the best choices for the best films now.
With Hernández’s films, Mexican cinema is reaching an aesthetic maturity worthy of praise. In black and white, and in color, the filmmaker demonstrates mastery of tonal composition. Through leaps into the past and projections into the future, it is possible to know in depth the feelings and desires of its characters. Through close-ups of a fragmented body, Hernández constructs a homo-erotic subjectivity never seen before in Mexican cinematography. This director’s contribution to the Mexican cinematographic universe is comparable to that of authors such as Ripstein or Iñárritu.
Finally, a film sums up what has been exposed so far: El Cobrador. In god, we trust (2006), by Paul Leduc, from four tales by Rubem Fonseca. The film, which involves actors of multiple nationalities (Lázaro Ramos, Peter Fonda, Antonella Costa, Isela Vega, etc.) and which was shot in several countries, is a co-production between Latin American and European countries. A protagonist is a man whose intention is to recover what the American political-economic system (its antagonist) owes him.
- First cinematographic work by Iñárritu, that has become one of the key films of Mexican cinema. In the film, fate, even for the dogs, turns out to be very different from what they had imagined.
The pain and resentment of the Cobrador (Lázaro Ramos) [El cobrador means “the collector”, “The collectioner”, is that of the destitute of current capitalism, those excluded from the system: the marginalized. The Cobrador is a rather unpleasant character, but more and more intelligible to the spectator as the story progresses. There is no multitude greater than that of those who pay every day with their lives and their goods for the imperfections of a voracious and destructive economic system. El Cobrador is, without a doubt, the most extensive cinematic speaking case in Mexican cinema and one of its most important products.
This diversity of points of view, the fact of giving cinematographic voice and image to those who served only as filling, background, necessary oblivion, is the great merit of contemporary Mexican cinema. The quest for self through others pursued by Mexican filmmakers today is an invaluable contribution to the identity of a nation particularly prone to succumb to the temptations of American cultural imperialism, and accustomed to it. Strongly marked by Spanish colonization, Mexico is also marked by the presence in the north of a powerful neighbor, with growing influence. Indian civilizations have left their mark on Mexican culture which is characterized by its syncretism. Mexico has been independent since 1821.