But the film’s larger impact resides in the sexual openness it depicted, resulting in the most restrictive rating from the Mexican government its tacit questioning of traditional masculinity in a culture where machismo is ingrained and its incisive treatment of class issues in a nation of painful inequalities. ![]() And it saw the birth of the cinematographer Emmanuel Lubezki’s naturalistic film grammar. The movie, which smashed box office records in Mexico before debuting at the Venice Film Festival that August, represented a return for the director, not only to Mexico after a stint in Hollywood but also to his passion for cinema. She challenges the boys’ nascent notions of manhood against the backdrop of a society getting its first taste of democracy after seven decades under the rule of the Institutional Revolutionary Party, known as the P.R.I. The film, structured as a road trip from Mexico City to a paradisiacal beach in Oaxaca, revolves around a love triangle involving the upper-class teenager Tenoch (Diego Luna), his humbler best friend, Julio (Gael García Bernal), and a Spanish visitor, Luisa (Maribel Verdú). ![]() ![]() Mexican cinema was just emerging from decades of obscurity when Alfonso Cuarón’s “ Y Tu Mamá También,” a voyage of self-discovery and the study of a country in flux, was released there in 2001, instantly achieving landmark status.
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