Tag Archives: Alfonso Cuaron

Film Favorites: Y Tu Mama Tambien


ss.tambienY Tu Mama Tambien
is inauspicious, but like many great films, it reaches for and touches the world and humanity in everyday actions and seemingly small gestures. Here, for instance, we have teen sexuality, laid out with all its romanticism and reality, filled with the kinds of empty-but-meaningful gestures that define humanity’s desires and their foibles. Director Alfonso Cuaron is a highly personal director, but he’s always most interested in defining his characters in relation to the world they inhabit. His two protagonists here are immature and petty yet deeply human, reflections of a society that won’t admit it has given birth to them and which they, initially, want no part in. He gives us a profoundly human story, built on the eternal humanness of sex as a marker of adulthood and childishness, and given life by Cuaron’s wonderfully and contrapuntally painterly version of sloppy, slovenly reality. Continue reading

Film Favorites: Y Tu Mama Tambien

With Alfonso Cuaron playing in the big leagues of sci-fi superstardom these days, it’s easy to forget where he came from. His earlier Mexican films didn’t gift him with the toybox he would later accumulate for big-budget affairs such as Gravity, but his rambunctious, sensory-heavy craft was on display from the beginning, and from the beginning he was producing more subtly radical works that didn’t insist so heavily on their filmic adventurousness. All these years later, with three good to stunning English-language blockbusters under his belt, his greatest achievement may still be a little film about two boys, a woman, and the Mexican countryside. Continue reading

Film Favorites: Children of Men

It would appear that selling one’s soul to the devil of commercial filmmaking can in fact serve a purpose, assuming of course you do so with a ruthless pragmatist’s eye. For that is exactly what one of Mexico’s most adored modern auteurs, Alfonso Cuaron, did with his introduction to English-language cinema in his one mercenary venture, Harry Potter and the Prisoner of Azkaban (no slouch as a film on its own, incidentally). For the success he had with big-budget tentpole cinema not only made a boatload of money (and made a franchise legitimize itself in the process, after two unflaggingly hum-drum entries beforehand), but it paved the way for one of the finest films of its decade, 2006’s Children of Men. If the entirety of the Harry Potter franchise only existed to validate the existence of this one film, well, it would be a job well done, for Children of Men is exactly the variation of cold-brewed, home-spun, plaintive sci-fi we don’t much see anymore, and exactly what the world of cinema circa 2006 needed. Continue reading