Buñuel is also participating in a co-production movement, with France (Cela c’est called l’aurore, 1956), the United States (La Jeune Fille – The Young One – la Joven, 1960) or Spain (Viridiana, 1961 ). Of Spanish origin, first actor and screenwriter, Luis Alcoriza is also well above his colleagues with biting and warm films, taking into account the Mexican social and cultural reality, Tlayucan (1961), Shark fishermen ( Tiburoneros, 1963) and Always Further (Tarahumara, 1964). You can visit https://best-123movies.com to have a look at these films.
In The Sixties
The sixties were characterized by a persistent crisis and the aesthetic recession. Films of masked wrestlers or sexy films saturate the market. In 1961, a subtle film, shot without great resources by a Spanish immigrant, Jomi García Ascot (En el balcon vacío), gives hope for a new cinema, at the margins, but aesthetically ambitious. Luis Alcoriza, Buñuel’s collaborator for L’Ange exterminateur, makes quality films in a popular vein (Tiburoneros, 1962). Arturo Ripstein begins with Tiempo de morir (1966) after Gabriel García Márquez.
Born in the sixties around the cine-clubs and the Cine-club and Nuevo Cine magazines, favored by an “experimental” cinema competition, a spirit of renewal breathes on Mexican cinema under the presidency of Luis Echeverría, whose brother, at the head of the National Cinematographic Bank eases censorship but strengthens the role of the State.
- A new generation of filmmakers appears, among which stand out Alberto Isaac with los Días del amor (1971) and el Ricón de las vírgines (1972), Paul Leduc with Reed, Mexico insurgé (Reed, Mexico insurgente, 1970), Felipe Cazals with la Manzana de la discordia (1968), flagship film of the young generation, and above all the violent fresco the Garden of Aunt Isabella (el Jardín de tía Isabel, 1973), Jorge Fons with the Masons (los Albañiles, 1976), Jaime Humberto Hermisillio , with las Aparencias engaging (Les Appearances misleading, 1977), the Chilean Alejandro Jodorowski, with el Topo (1970) or the Sacred Mountain (la Montaña sagrada, 1973), or Alfonso Arau, with the Barefoot Eagle (el Aguila descalza, 1969).
The most important of these new Mexican filmmakers is Arturo Ripstein, whose work explores the abysses of physical and moral alienation and intolerance, through numerous films including Tiempo de Morir (1965), the Castle of Purity (el Castillo de la pureza, 1972), el Santo Officio (1973), Foxtrot (1975), Ce lieu sans frontières (el Lugar sin limits, 1977) and more recently Deep Carmine (Profundo carmesi, 1996).
In the Seventies: The film Changes
The Seventies also saw the development of a strong current of militant cinema, produced by collectives such as Cine Independiente or Cine Octubre (Cinéma Octobre), but in parallel, the government of José López Portillo, and those of his successors, confirm the disengagement of the State in production. Annual production therefore decreases.
Promotion of the Films
Created in 1983, the Mexican Institute of Cinematography (Imcine) nevertheless promotes the continuation of the careers of some alumni such as Ripstein, Leduc, or Hermosilio. Among the newcomers, Carlos Carrera, who won a gold palm in Cannes for his animated film el Héroe (1993), Nicolás Echevarría and Alberto Cortès. María Novaro, with Danzón (1990), announces a new path for Mexican cinema by reviving the tradition.