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A partir de cero [From zero]

Date produced: 1971

Filmmaker(s):

Carlos Belaunzarán

Description:

"Narró en la cinta la reflexión existencial de un personaje que piensa sobre la relación entre los ideales genuinos y la realidad que lo rodea. En ella el tema político ocupaba un marco sutil pero presente. El título sugiere el regreso a un lugar donde el pensamiento comience de nuevo, sin supuestos previos. En la cinta de Belaunzarán aparecen mezclados varios elementos que perturban la reflexión del personaje: la propaganda política, Telesistema Mexicano, las imágenes sobre Vietnam, Biafra, Tlatelolco" (Vázquez Mantecón, 2012).

"The film was about the existential reflection of a character that thinks about the relationship between genuine ideals and the reality surrounding him. In it the political theme was a subtle framework, but it was present. The title suggests coming back to a place where thought begins again, without previous assumptions. In Belaunzarán's film there are several elements that disturb the reflection of the character: political propaganda, the Mexican Telesystem, images of Vietnam, Biafra, Tlatelolco" (Vázquez Mantecón, 2012).


Padre o Why?, El [The father or Why?]

Date produced: 1970

Filmmaker(s):

Enrique Escalona

Galo Carretero

Description:

"Hacía un alegato sobre lo que sucede al otro lado de la tranquilidad de la vida burguesa. Se alternaban imágenes de placidez doméstica de la clase media con escenas de la guerra de Vietnam y las rebeliones estudiantiles de la época. Al final de la cinta, sobre la fotografía de un mitin en Tlatelolco, una pregunta: "saber, darse cuenta, ¿cuándo?" "(Vázquez Mantecón, 2012).

"It was an allegation about what happens at the other side of the bourgeois life tranquility. Images of middle class house placidity were alternated with scenes from the Vietnam war and the students' rebellions of the time. At the end of the film, over the photography of a political rally in Tlatelolco, a question: "to know, to notice, when?" " (Vázquez Mantecón, 2012).


Ahate-Hanhak [Duck legs]

Date produced:

Filmmaker(s):

Eloy González Gavilán

Description:

The film begins with a man wandering in the country. He finds a woman dressed in white and they begin to kiss, eventually falling on the grass. The man takes the woman dressed in white to meet an older woman who rejects her. He goes looking for the woman in white and sees that she has duck legs, he falls and dies while she places a small brown sack by his chest. The film then shows men carrying his body to his burial while the older woman cries behind the funeral procession and the woman in white watches hiding in a corner. When the body is left alone, the woman in white approaches him and takes the brown sack back.


Calles negras, Las [The black streets]

Date produced: 2018

Filmmaker(s):

Felipe Tirado

Description:

"A successful man living in a great metropolis is increasing awareness of the unjust social reality that lives in the absurdity. This immerses him in a uneasiness that sinks into alcoholism and depression. In his wandering through the streets viewer gets to be the unfortunate suicide of another victim of the meaninglessness of life, which will produce a series of dreamlike hallucinations bordering on the madness. In a stroke of consciousness of his misfortune, he does run aimlessly without course. Devastated, to the dawn, with the light of the dawn he sees to be reborn the hope personified in an innocent girl who stretches the hand donating bread" Internet Archive.


Tovar

Date produced: 1971

Filmmaker(s):

David Celestinos

Description:

"Un documental sobre las acciones plásticas de Raúl Tovar, pintor pop integrante del Salón Independiente, egresado –igual que Celestinos– de la ENAP. En él aparecen jóvenes con los cuerpos pintados de negro y las bocas rojas en algo parecido a un happening, la elaboración de un mural colectivo con frases icónicas de la época ("la imaginación al poder", "Peace", "Love", citas de Lao-Tse, etcétera). En la película predominaba un ambiente psicodélico que no llegaba más allá de la obra del pintor y del contexto juvenil en el que se producía" (Vázquez Mantecón, 2012).

"A documentary about the plastic art actions of Raúl Tovar, a pop painter member of the Independent Hall, alumni –same as Celestinos– of the ENAP. In it, young people appear with their bodies painted in black and their mouths painted in red in some sort of happening, there is also the making of a collective mural with iconic phrases of the time ("all power to the imagination", "Peace", "Love", quotes by Lao-Tse, etcetera). A psychedelic ambiance prevailed, not going beyond the work of the painter and the youthful context produced at the time" (Vázquez Mantecón, 2012).


Jícama [Jicama]

Date produced: 1970

Filmmaker(s):

Sergio Díaz Zubieta

O. Santos

Description:

"La película realizaba un montaje lúdico al yuxtaponer los mensajes políticos oficiales escritos en las bardas de la ciudad con imágenes o textos que los ironizaban o alteraban su sentido. El título viene de un juego de palabras con el fraseo de las sílabas "Mé-xi-co" / jí-ca-ma", que solían usarse entonces como porra en los partidos de fútbol de la selección nacional" (Vázquez Mantecón, 2012).

"The movie had a playful montage by juxtaposing official political messages written in walls around the city with images or text that ironized them or altered their meaning. The title comes from a word game that played with the phrasing of the syllables "Me-xi-co / ji-ca-ma", a popular chant during the national team soccer games of the time" (Vázquez Mantecón, 2012).


Popurrí de Superochos [Super 8 Potpourri]

Date produced: 1978

Filmmaker(s):

Maris Bustamante

Rubén Valencia

Description:

"Siete cortometrajes de Maris Bustamante y Rubén Valencia, integrantes del No Grupo, que indican el acercamiento de artistas plásticos al formato súper 8. Los trabajos del No-Grupo tendieron a hacer una reflexión a la vez lúdica y crítica sobre la naturaleza del arte" Superocheros.

"Seven short films made by Maris Bustamante and Rubén Valencia, members of the No Group, that indicate the interest of artists in the plastic arts to use the super 8 format. The works of the No Group were usually a playful and critical reflexion on the nature of art" Superocheros.


Arena [Sand]

Date produced: 1986

Filmmaker(s):

Silvia Gruner

Description:

"Arena (Sand, 1986), a soft, grainy projection in which Mexican artist Silvia Gruner, naked, on a beach, climbs a dune, sits, rubs sand and red pigment over her body, and then somersaults all the way down. The video loops, and Gruner repeats her uphill trek again and again. Sisyphean, certainly, and yet her only burden was herself and that looked like freedom" (Brown, 2017)


Eureka

Date produced: 1974

Filmmaker(s):

Nicolás Echevarría

Description:

"Primer súper 8 de Nicolás Echevarría, quien ya había realizado un trabajo experimental en 16 milímetros y veía en los superocheros una suerte de "comunidad de marginados" con la que se sentía a gusto, mostraba sobre el fondo de una pieza de Ravel las poses de un contorsionista que buscaba la autosatisfacción en un decorado que asocia la noción burguesa de confort al erotismo" (Vázquez Mantecón 2012)

"First super 8 film of Nicolás Echevarría, who had already filmed and experimental piece in 16 mm and saw in the supereighters a sort of "outcasts' community" that he identified himself with, it showed with the background of a Ravel musical piece the poses of a male contortionist looking for self-satisfaction in a setting that associates the notion of the bourgeoisie to the comfort of eroticism"


Materia nupcial [Bridal matter]

Date produced: 1974

Filmmaker(s):

Alfredo Robert

Description:

"Quizá para dejar claro que abordaba el tema desde un punto de vista artístico, la película comienza con imágenes de erotismo en las artes plásticas (Picasso y Fiona Alexander, principalmente) para relatar la historia de un hombre (Salvador Garcini) que se acerca sensualmente a su amada (Tina Romero) y descubre que tiene una vagina dentada, cosa que lo desorienta y conflictúa. Es curioso que a diferencia del poema de Neruda en el que se había inspirado, la película no mostraba el ejercicio de una sexualidad plena y consumada, sino precisamente de los miedos a ella.
El joven vaga atormentado por las calles de la ciudad. Acude con una especie de gurú (Juan José Gurrola), que interpreta música neuroatonal en un teclado eléctrico, mientras resuena el poema de Neruda. A partir de esto el joven recupera sus fuerzas y recibe una suerte de inciación sexual con una mujer de vestido blanco en la pirámide de Cuicuilco para finalmente volver, todo complejo superado, a la mujer del principio" (Vázquez Mantecón, 2012)

"Maybe to make it clear that the topic was addressed from an artistic perspective, the film begins with erotic images from plastic arts (mainly Picasso and Fiona Alexander) to tell the story of a man (Salvador Garcini) that approaches sensually his loved one (Tina Romero) and discovers that she has a Vagina Dentata, which disorients and conflicts him. It is curious that unlike the Neruda poem it is inspired by, the film doesn't show a free and consummated sexuality, but the fears associated with it.
The tormented man wanders the streets of the city. He goes to a sort of spiritual guru (Juan José Gurrola), that interprets neuro-atonal music in an electric keyboard, while Neruda's poem sounds in the background. From this point the young man regains his strength and receives a sort of sexual initiation with a woman dressed in white in the pyramid of Cuicuilco to finally come back, all complexes aside, to the woman of the beginning" (Vázquez Mantecón, 2012)


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