E-mail us: amdb@ucalgary.ca

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).


Aquila non caput muscas / Águilas no cazan moscas [Eagles don’t hunt flies]

Date produced: 1971

Filmmaker(s):

Alfredo Gurrola

Description:

"Se trataba del regreso de un soldado de origen mexicano a la Ciudad de México después de haber combatido en Vietnam con las tropas estadounidenses. El hombre llega a la estación del ferrocarril de Buenavista y recorre la ciudad para acabar finalmente en el departamento de su hermano. Busca trabajo y no lo encuentra. Por la voz off que sigue el hilo de sus pensamientos, nos enteramos que a su mente guerrera le cuesta trabajo adaptarse a la vida pacífica. La película intercala una serie de secuencias oníricas que de alguna manera ilustran su delirio belicista: sueña que es un soldado griego que asesina al niño que lo molesta en el taxi colectivo (un pesero) que lo conduce a casa de su hermano; imagina en el personaje que lo entrevista cuando aplica para obtener un trabajo a Napoleón Bonaparte (interpretado por Juan José Gurrola) dirigiendo una batalla; o sueña que es un caballero medieval que asesina a su familia en un pacífico día de campo. Finalmente el personaje no encuentra cabida en la sociedad pacífica y acude –todavía en traje de caballero medieval – al aeropuerto para comprar un boleto de avión "a la guerra más próxima"" (Vázquez Mantecón, 2012).

"It is about the comeback of a Mexican soldier to Mexico City after fighting in Vietnam along with American troops. The man arrives to the train station in Buenavista y goes around the city to end up at his brother's apartment. He looks for a job and cannot find one. The off voice, that follows his train of thought, tells us that his war mind has trouble adapting to a peaceful life. The film inserts a series of dreamlike sequences that in a way illustrate his war delirium: he dreams he is a greek soldier that murders the kid that bothers him in a collective cab that drives him to his brother's house; he imagines the character that interviews him when he is looking for a job is Napoleon Bonaparte (played by Juan José Gurrola) directing a battle: or he dreams he is a medieval knight that murders his family in a peaceful day in the country. Finally the character doesn't find a place in a peaceful society and goes –still in medieval armor– to the airport to buy a by a plane ticket to the "nearest war" " (Vázquez Mantecón, 2012).


Fin, El [The end]

Date produced: 1970

Filmmaker(s):

Sergio García Michel

Description:

"Una historia sobre el acoso sufrido por la juventud por parte del mundo de los adultos. La posición alternativa del grupo [de realizadores] se hacía explícita desde las primeras tomas, en donde los créditos aparecían escritos en las paredes de una casa en ruinas, omitiendo los apellidos y dejando solo los nombres de pila de quienes participaron" (Vázquez Mantecón, 2012).

"A story about the harassment suffered by the youth from the adult world. The alternative position of the group [of filmmakers] was made evident from the first shots, where credits appeared written on the walls of a house in ruins, omitting last names and leaving only the first names of the participants" (Vázquez Mantecón, 2012).


Paletero, El [The popsicle man]

Date produced: 1970

Filmmaker(s):

Gabriel Retes

Description:

"El paletero cuenta la historia de un vendedor de helados y paletas (Héctor Suárez) que recorre las calles de la ciudad. Es simpático: juega volados con los niños, conversa amistosamente con una criada que ha salido a la calle para hacer el mandado (July Furlong). De pronto un grupo de policías judiciales, vestidos de civil, deciden acosarlo. Se acercan intimidantes a la pareja. Rompen los conos de galletas para helado. El paletero siente pánico y huye por las calles de la ciudad. Es perseguido por los judiciales. Intenta esconderse en las ruinas de una casa abandonada, donde es seguido por uno de los policías. Luchan y el paletero consigue quitarle la pistola. Amenaza al policía y reemprende la huída. Al final encuentra un nuevo escondite en una vecindad. Presa del pánico, el paletero dispara sobre sus perseguidores, hiriendo a dos. Los policías lo ejecutan, y de paso matan a un niño que jugaba en el patio de la vecindad y que había quedado situado en medio del tiroteo" (Vázquez Mantecón, 2012).

El paletero [The popsicle man] tells the story of an ice cream and popsicles seller that goes around the city streets. He is nice: he plays coin toss with children, talks kindly with a maid that has left the house to run some errands. Suddenly a group of policemen, dressed as civilians, decide to harass him. They approach the couple in an intimidating manner. They break the ice cream cones. The popsicle man feels panic and runs away through the city streets. He is chased by policemen. He tries to hide in the ruins of an abandoned house, where he is followed by one of the policemen. They fight and the popsicle man takes his gun. He threatens the policeman and starts running away again. At the end he finds a new hiding spot in a vicinity. Overcome by panic, the popsicle man shoots wounding his persecutors. The policemen execute him, and they also kill a child of the neighborhood that was caught up between the shooting" (Vázquez Mantecón, 2012).


Luz externa [External light]

Date produced: 1974

Filmmaker(s):

José Agustín Ramírez

Description:

"Luz externa fue una de las producciones más ambiciosas del súper 8 mexicano. El guión se basaba en el monólogo de Ernesto, un machín jipiteca, que relata a un amigo las peripecias con su novia Raquel. Posteriormente el guión sirvió como la base del cuento con el mismo título que apareció como parte del libro El rey se acerca a su templo. Tanto la película como el cuento se abocaban a describir el abanico amplio de la juventud clasemediera urbana contracultural que había aparecido a fines de los años sesenta y principios de los setenta: los macizos que acceden al consumo de drogas, las muchachas de buena familia que se acercan a ese mundo, los nuevos conversos a la revolución social o los intelectuales que participan del ambiente con simpatía" (Vázquez Mantecón, 2012).

"Luz externa [External light] was one of the most ambitious productions of the Mexican super 8. The script was based in the monologue of Ernesto, a 'machin' hippie, that tells a friend about his adventures with his girlfriend Raquel. The script served later as the base for a short story with the same title that appeared as part of the book El rey se acerca a su templo [The king approaches his temple]. Both the movie and the short story described the wide range of the middle class urban countercultural youth that emerged at the end of the sixties and the beginning of the seventies: the strong men that had access to drugs, the girls from good families that entered that world, the new converts to social revolution or the intellectuals that sympathize with that ambiance" (Vázquez Mantecón, 2012).


Chuchulucos y arrumacos para burgueses [Knick-knacks and cuddles for the bourgeois]

Date produced: 1974

Filmmaker(s):

Rafael Montero

Description:

"Una cinta cargada de referencias a Jean-Luc Godard (Los Carabineros, 1963) pero sobre todo concentrada en la crítica mordaz al radicalismo de izquierda. Una vez más Marco Antonio Madrid hace el papel de protagonista, un joven de pelo largo, pantalón de mezclilla y saco, que se dedica a ligar en los cafés de la Zona Rosa adoctrinando a las mujeres. Lee a Marx después de hacer el amor, y se junta con sus amigos para brindar por "la muerte de la intelectualidad burguesa". Montero utiliza intertítulos como recurso irónico, una suerte de narrador externo que interpela la historia: "¿Qué es la intelectualidad burguesa?". La lucha revolucionaria del joven y sus amigos está teñida de sentido del humor. En una secuencia que recuerda mucho a Los Carabineros, suben al techo de una fábrica para iniciar la lucha armada (...) Por último un cartel proporciona una última burla: "Y si el sol es burgués detendremos al sol" " (Vázquez Mantecón, 2012).

"A film loaded with references to Jean-Luc Godard (The Carabineers, 1963), but above all focused on biting criticism to the radical left. Once again Marco Antonio Madrid plays the role of the lead character, a young man with long hair, jeans and coat, that dedicates his time to hook up in the coffee shops of the Zona Rosa indoctrinating women. He reads Marx after making love and he gets together with his friends to toast for the "death of the bourgeois intellectuality". Montero uses intertitles as a resource for irony, a sort of outside narrator that interpellates the story: "What is bourgeois intellectuality?". The revolutionary fight of the young man and his friends is filled with a sense of humor. In a sequence that reminds us of The Carabineers, they go to the rooftop of a factory to begin the armed fight. (...) Finally a sign shows one last derision "And if the sun is bourgeois, we will stop the sun" " (Vázquez Mantecón, 2012).


Víctor Ibarra Cruz

Date produced: 1971

Filmmaker(s):

Eduardo Carrasco Zanini

Description:

"Era una película muy sencilla, filmada al estilo de cine directo, que seguía los pasos y la vida de un personaje urbano singular: un hombre que acompañado de su perro recorre las calles de la ciudad, las barriadas miserables. La cinta lograba momentos de una gran intimidad al mostrar la vida de este paria solitario y marginal, como aquel en que comparte con su perro un pastel para celebrar su cumpleaños en la soledad de su cuarto" (Vázquez Mantecón, 2012)


"It was a very simple film, made in the style of direct cinema, that followed the steps and the life of a singular urban character: a man that in the company of his dog walks through the city streets, the miserable neighborhoods. The film achieved moments of great intimacy by showing the life of this lonely and marginal pariah, like the moment when he shares a cake with his dog to celebrate his birthday in the loneliness of his room" (Vázquez Mantecón, 2012)


Mi casa de altos techos [My House of High Ceilings]

Date produced: 1970

Filmmaker(s):

David Celestinos

Description:

"Two Visual Arts students of the San Carlos Academy find themselves embroiled in contradictions, spiritual inclinations and concerns about the political and social conditions of Mexico, which puts them in a quandary about what stance to take in the Student Movement of 1968." Ambulante.


Barriers [aka] The Triangle

Date produced: 1930

Filmmaker(s):

Harford G. McKinley

Description:

Promotes the all-round activities of YMCA work and their relationship to character-building. Kenyon, a one-time YMCA athlete, has "fallen into evil companionship" and become addicted to cocaine. Under the control of Chinese underworld kingpin Chang Yat, he aids in the kidnapping of a white girl. Afterwards, he discovers his old "Y" pin and recalls the role of YMCA athletics in shaping his character. Seized with remorse, he overpowers Chang Yat and helps the girl escape. Later, Kenyon returns to the YMCA. (D.J. Duffy, condensed from "Y.M.C.A. Cinema Club Produces Smart Film," Toronto Daily Star, May 31, 1930, p. 30.)
Film was sponsored or co-produced by the Central Y.M.C.A. of Toronto, and written by the club's secretary, H.G. McKinley.


John Doe, Citizen

Date produced: 1938

Filmmaker(s):

Frances Christeson

Harry Merrick

Description:

"In their adroitly handled John Doe, Citizen, Frances Christeson and Harry Merrick have produced a photoplay of politics in city government that can be compared to a theatrical picture in dramatic values and clarity of treatment. Designed to teach students the value of the vote, the danger of neglecting to understand the issues in city affairs and some of the methods by which machine politicians keep themselves in power, this picture also shows how well amateurs can handle a serious film in dramatic form. Particularly notable, from the movie maker's viewpoint, is how cleverly and effectively the producers have circumvented such apparently insurmountable problems as showing a crowded town meeting in a large auditorium, night airplane shots of rows of homes with lighted windows and the construction of a new sea wall on the city's waterfront. Needless to say, these sequences were not handled by means of large studio sets and hundreds of extras; but they are just as effective as if they had been, and therein lies the genius of these remarkable movie makers." Movie Makers, Dec. 1938, 597.

"A fictional account of an election as it might occur in a small city. Illustrates the indifference of the average citizen to public affairs and emphasizes that if the government is not run by the people the government will run them." Educational Film Guide, 1953, 367.


Total Pages: 2