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Ah, verda’? [Ah, right?]

Date produced: 1973

Filmmaker(s):

Sergio García Michel

Description:

" Ah, verda'? planteaba una extraña combinación entre la militancia política y la contracultural. Jugaba con el ataque a los símbolos del orden nacional y estatal (la bomba en el Monumento a la Revolución y en el PRI, los judiciales persecutores), la crítica a la sociedad de consumo representada por la huida de la pareja de jóvenes entre los espectaculares, la liberación sexual (la combi zarandeada porque dentro hacen el amor, o la urgente calentura de los monjes una vez que han probado el LSD y cruzado las puertas de la percepción), y la representación de la fantasía jipiteca de que el mundo sería más alivianado si todos probaran las drogas duras" (Vázquez Mantecón, 2012).

" Ah, verda' [Ah, right?] was a strange combination between political and countercultural militancy. It played with the attack to symbols of state and national order (a bomb in the Monument to the Revolution and in PRI offices [Revolutionary Institutional Party], the chasing police men), a critique to a consumer society represented by a young couple running away in between billboards, the sexual liberation (a truck shaken because someone is making love inside, the sex desire of monks once they have tried LSD and crossed the gates of perception), and the representation of the mexican hippies' fantasy in which the world would be cooler if everyone tried hard drugs" (Vázquez Mantecón, 2012).


Nosotros sí existimos [We do exist]

Date produced: 1972

Description:

"El guión tenía una fuerte influencia de La hora de los hornos, y tendía a la explicación pedagógica de las condiciones de opresión, mostrando la diferencia entre la forma de vida de ricos y pobres y con una explicación sencilla de cómo el capitalismo sienta las bases de una explotación que finalmente es la base de las razones de la huelga [El filme muestra la huelga de Rivetex en Cuernavaca] . El título de la película (Nosotros sí existimos) jugaba con el término legal que había declarado la huelga inexistente" (Vázquez Mantecón, 2012). "The script had a strong influence of The hour of the furnaces , and it tended to a pedagogical explanation of the conditions of oppression, showing the difference between the way of life of the rich and the poor, along with a simple explanation of how capitalism sets the basis for exploitation, which is the origin of the strike [The film portrays the Rivetex strike in Cuernavaca]. The title of the film [We do exist] played with the legal term that had declared the strike non-existent" (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).


Sergio

Date produced:

Filmmaker(s):

Eloy González Gavilán

Description:

A little boy named Sergio makes a wish list of gifts that include a soldier suit, a machine gun and other weapons. He then has a dream of himself as a soldier exploring the country and having fun with his guns; the dream turns into a nightmare when he sees his family dead and covered in blood, he cries and kisses the dead members of his family and finally he throws away his toy machine gun covered in blood. Sergio wakes up scared and destroys his wish list.


Aquí, allá, en todas partes [Here, there and everywhere]

Date produced: 1971

Filmmaker(s):

Sergio García Michel

Description:

"Era una película que desarrollaba un tema muy propio de la contracultura de la época: la posibilidad de regresar a la naturaleza para vivir una vida al margen de la contaminación y de la vida moderna. Se trataba de una cinta de menos de diez minutos de duración, que contaba una historia breve pero ilustrativa de la naturaleza de los debates entre los jóvenes mexicanos cercanos a la contracultura. [...] La historia de Sergio García hacía una crítica al escapismo hippie, esperanzado por la posibilidad de crear un mundo alterno al de la realidad del capitalismo industrial" (Vázquez Mantecón, 2012).

"It was a film that developed a topic very related to the counterculture of the time: the possibility of going back to nature to live a life away from pollution and the modern life. The film lasted less than 10 minutes, and it told a brief but illustrative story about the nature of the debates between the Mexican youth that was close to the counterculture. [...] The story by Sergio García was a critique of the hippie escapism, hopeful for the possibility of creating an alternate world to the reality of industrial capitalism" (Vázquez Mantecón, 2012).


Otro País [Another Country]

Date produced: 1972

Description:

"En este cortometraje se narra la resistencia al régimen en la ciudad de Monterrey, en el estado de Nuevo León, a través de varios frentes: la irrupción de un grupo de sindicalistas independientes en el desfile oficial del 20 de noviembre, con la presencia del gobernador Luis M. Farías; la invasión de tierras y la presencia de organizaciones vecinales en Topo Chico; los muertos por un accidente laboral en la Fundidora Monterrey; las huelgas de obreros de la CTM y de panaderos de la CROC (dos poderosos sindicatos oficiales), o la actividad vecinal del Grupo 2 de Octubre en la colonia Días Ordaz" (Vázquez Mantecón, 2012).

"This short film tells the story of the resistance against the regime in Monterrey city, in the state of Nuevo León, through several perspectives: the irruption of a group of independent union laborers in the official November 20th parade, with the presence of governor Luis M. Farías; the invasion of land and the presence of neighborhood organizations in Topo Chico; the dead by a working accident in Fundidora Monterrey [Monterrey Foundry]; the strikes of CTM workers and CROC bakers (two powerful official labor unions), or the activities of neighbors of the October 2 Group in Diaz Ordaz vicinity" (Vázquez Mantecón, 2012).


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.


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).


Patria libre [Free Country]

Date produced: 1979

Filmmaker(s):

Sergio García Michel

Description:

"En Patria Libre, Sergio García documentó los primeros logros de la revolución sandinista en Nicaragua. [...] Se trataba de un documental convencional, con una voz off (leída por Felio Eliel) sobre un momento de frescura y esperanza por el triunfo del Frente Sandinista de Liberación Nacional. El arranque del documental con una serie de imágenes de Sandino en alto contraste que culminan en la foto de un adolescente guerrillero (mientras que en la banda sonora se escucha a Pablo Milanés cantar "Los caminos") preludian el tono que se desarrollará sobre el caso de la revolución sandinista" (Vázquez Mantecón, 2012.)

"In Patria Libre [Free Country], Sergio García documented the first achievements of the Sandinista Revolution in Nicaragua. It was a conventional documentary, with an off voice (read by Felio Eliel) about a moment of freshness and hope because of the triumph of the Sandinista National Liberation Front. The documentary begins with a series of highly contrasted images of Sandino that end with the picture of a guerrilla teenager (while the soundtrack plays "Los caminos" [The roads] by Pablo Milanés), which is a prelude to the tone that will be used to describe the Sandinista Revolution" (Vázquez Mantecón, 2012).


Introduction to Israel: A Pilgrimage in Partitioned Palestine

Date produced: 1951

Filmmaker(s):

A. I. Willinsky

Description:

"Item is an audio-visual production of Dr. Willinsky's trip to Israel. In the form of a travelogue, Willinsky accompanies footage of landmarks, ruins and the local population with audio commentary. The production includes a brief discussion of the formation of the state of Israel and features various cities, such as, Jerusalem and Tel-Aviv. Sadie [Willinsky] is occassionally spotted in the footage interacting with locals and visiting the homes of friends." Ontario Jewish Archives.


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