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“Las dos Elenas” was also directed by a renowned theater figure, José Luis Ibáñez, who worked with an adaptation very close to the original text written by Carlos Fuentes. Focused on a series of infidelities, this work is a clear example of the influence new European cinema had over the films that were being produced all around the world. We could consider that modern cinema, and literature, began happening when their The other film which was put together with the characters started to reflect. short films produced by Barbachano Ponce for And what could be better than this contest is Los bienamados, which integrated seeing this through audiovisual two medium-length films; the first one, “Tajimara,” means? was directed by Juan José Gurrola based on a short story by Juan García Ponce. “Tajimara” alThe other two stories which lows us to value the accurate way it represents complete this film are more the way time flows, as the director plays using a conventional; these are Miguel slow rhythm to increase the multiple possibilities Barbachano Ponce’s “Lola de characters have. Once again, it is disappointmi vida,” and an added short ing that people with such a talent as this creafilm which already existed betor wouldn’t get the chance to carry on pursuing fore the contest and it actually a career in cinema; however, in this case, that is is a small and light comedy, “La something Mexican theater surely appreciates. viuda,” free adaptation of a story by Petronious written by Benito Juan Ibáñez’s work, “Un alma pura,” was based on Alazraki, who also directed the a story by Carlos Fuentes, who also wrote its adshort film. aptation. This is a more cosmopolite film; not only for being partially filmed in New York, but because of the way it deals with a subject which is a taboo, incest. Unlike Gurrola, Ibáñez did begin with this film a career which would take him to shoot, a couple of years later, the feature film Los caifanes. 300

The movie which got the fourth place in this contest, Viento distante, is made of three short films. The most outstanding one is Manuel Michel’s “Tarde de agosto,” in which this filmmaker who studied in France boasts his closeness to the French Nouvelle Vague by using the resource of the narrative voice as he follows a teenager who is acquiring consciousness of who he is. This is, once again, one of the earliest examples of truly modern Mexican cinema. The other two short films, directed by Salomón Laiter and Sergio Vejar, are not to be belittled.

Finally, I would like to end with a reflection; currently, it would seem we live a completely opposed situation to the one lived fifty years ago; today, we can enjoy a great variety of films and some of them are very personal and creative, expressive works which cannot be put into the box of a particular formula or genre. In face of this situation, more and more voices claim that we will only truly have a filmic industry again when our filmic production also includes numerous genre films which are intelligent and offer solid plotlines and believable characters. That might be true, but I hope our cinema gets to be just like huge church with many chapels in it and enough niches so all kinds of projects can be produced. Francisco Ohem

1965: PRIMER CONCURSO DE CINE EXPERIMENTAL MEXICANO

and feel —in a deliberately slow manner— how memories become an element of control. The mise en scène is just as good as the story and it offers a confirmation of how important is the presence of a director able to work with ease.

In this program we will also be able to see Amelia, directed by Juan Guerrero, who was a proud graduate from CUEC and probably that makes this film the first feature directed by a student of this film school, which was founded just a year before that. Also, this film shows one of the earliest examples of what could be called an emerging feminism in our cinema because of the way everything that appears on the screen is presented from a feminine point of view. We thank the Nuevo León Cinémathèque for lending us this film’s copy for its screening. any production aiming to be Rogelio González Garza’s, Lladifferent It was impossible to nto por Juan Indio, is an exam~ find a copy of the other ple of a genre which has been often present in Mexican cinfilms which took part in the contest and therefore they couldn’t be included in our program. We are ema: rural dramas and melodratalking about El día comenzó ayer, directed by mas. Mexican producers used Ícaro Cisneros (and it is a pity not to find a copy to flood the screens with this genre and this specific title is of this film, because as the Secretary of the Union’s section of technicians and manual workers included so current viewers can Cisneros was the main promoter of this contest value the experimental value of and his film also had the plus of presenting Mexico this particular film. City’s Zona Rosa at its best); Carlos Enrique Taboada’s El juicio de Arcadio; Felipe Palominos’ La tierna infancia; Antonio Fernández’s Los tres farsantes; Carlos Nakatani’s Una próxima luna; and Julio Cahero’s Mis manos.

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Catálogo FICUNAM 4  

Catálogo de la cuarta edición del Festival Internacional de Cine UNAM.

Catálogo FICUNAM 4  

Catálogo de la cuarta edición del Festival Internacional de Cine UNAM.

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