| Photos (See all 64 | slideshow) | Videos (see all 5) |
| Ana López Mercado | ... | Ana Morelos | |
| Diego Luna | ... | Tenoch Iturbide | |
| Gael García Bernal | ... | Julio Zapata | |
| Nathan Grinberg | ... | Manuel Huerta | |
| Verónica Langer | ... | María Eugenia Calles de Huerta | |
| María Aura | ... | Cecilia Huerta | |
| Giselle Audirac | ... | Nicole Bazaine | |
| Arturo Ríos | ... | Esteban Morelos | |
| Andrés Almeida | ... | Diego 'Saba' Madero | |
| Diana Bracho | ... | Silvia Allende de Iturbide | |
| Emilio Echevarría | ... | Miguel Iturbide | |
| Marta Aura | ... | Enriqueta 'Queta' Allende | |
| Maribel Verdú | ... | Luisa Cortés | |
| Juan Carlos Remolina | ... | Alejandro 'Jano' Montes de Oca | |
| Liboria Rodríguez | ... | Leodegaria 'Leo' Victoria | |
| Silverio Palacios | ... | Jesús 'Chuy' Carranza | |
| Mayra Serbulo | ... | Mabel Juárez de Carranza | |
| Andrea López | ... | Lucero Carranza | |
| Amaury Sérbulo | ... | Christian Carranza | |
| rest of cast listed alphabetically: | |||
| Daniel Giménez Cacho | ... | Narrator (voice) (uncredited) | |
| Jorge Vergara | ... | President (uncredited) | |
Directed by | |||
| Alfonso Cuarón | |||
Writing credits | ||
| Alfonso Cuarón | (screenplay) | |
| Carlos Cuarón | (screenplay) | |
Produced by | |||
| Sergio Aguero | .... | executive producer | |
| Alfonso Cuarón | .... | producer | |
| Amy Kaufman | .... | executive producer | |
| David Linde | .... | executive producer | |
| Kelly Miller | .... | production executive: Good Machine International | |
| Sandra Solares | .... | line producer | |
| Jorge Vergara | .... | producer | |
Cinematography by | |||
| Emmanuel Lubezki | |||
Film Editing by | |||
| Alfonso Cuarón | |||
| Alex Rodríguez | |||
Casting by | |||
| Manuel Teil | |||
Production Design by | |||
| Marc Bedia | |||
| Miguel Ángel Álvarez | |||
Art Direction by | |||
| Diana Quiroz | |||
| Miguel Ángel Álvarez | |||
Set Decoration by | |||
| Roberto Loera | |||
Costume Design by | |||
| Gabriela Diaque | |||
Makeup Department | |||
| Carlos Sánchez | .... | hair stylist | |
| Carlos Sánchez | .... | makeup artist | |
Production Management | |||
| Marc Bedia | .... | production supervisor | |
| Keary Jenkins | .... | production supervisor | |
| Eamon O'Farrill | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Fernanda Arce | .... | assistant director | |
| Manuel Hinojosa | .... | assistant director | |
| Berenice Manjarrez | .... | assistant director | |
Art Department | |||
| Ariel Chávez | .... | assistant art director | |
| Mily Moreno | .... | property master | |
Sound Department | |||
| Marko A. Costanzo | .... | foley artist | |
| Tom Fleischman | .... | sound re-recording mixer | |
| José Antonio García | .... | production sound mixer | |
| José Antonio García | .... | sound | |
| Ruy García | .... | sound designer | |
| Frank Kern | .... | sound editor | |
| Hal Levinsohn | .... | adr editor | |
| Blake Leyh | .... | sound effects editor | |
| Skip Lievsay | .... | sound re-recording mixer | |
| Debora Lilavois | .... | assistant sound editor | |
| Philip Stockton | .... | sound supervisor | |
Special Effects by | |||
| Salvador Servin | .... | special effects | |
| Alejandro Vázquez | .... | special effects | |
Camera and Electrical Department | |||
| Marco Antonio Huerta | .... | assistant camera | |
| Fabián Monroy | .... | assistant camera | |
| Luis David Sansans | .... | assistant camera | |
Editorial Department | |||
| Manuel Billeter | .... | additional editor (R-rated version) | |
| Manuel Billeter | .... | post-production coordinator | |
| Silvia Garza Bermúdez | .... | assistant editor | |
| David Gray | .... | assistant editor | |
| James Nichols Jr. | .... | assistant editor | |
| Mario Ontal | .... | assistant editor | |
| Noëlle Penraat | .... | negative cutter | |
| Jennifer Ruff | .... | assistant editor | |
| Kathy Thomson | .... | digital colorist | |
Music Department | |||
| Annette Fradera | .... | music supervisor | |
| Liza Richardson | .... | music supervisor | |
| Susan Shufro | .... | music editor | |
Other crew | |||
| Manuel Billeter | .... | translator | |
| Maury Carvajal | .... | script supervisor (as Mauri Carvajal) | |
| Nuria Garcia Atienza | .... | marketing | |
| Marga García | .... | marketing | |
| Antonio Giménez | .... | marketing | |
| Rodrigo Herranz | .... | production coordinator | |
| Mauricio Lule | .... | production assistant | |
| Rocío Ortega | .... | animal wrangler | |
| Horacio Rodríguez | .... | production assistant | |
| Jennifer Schaefer | .... | delivery supervisor: Los Angeles | |
| Sally Steele | .... | film publicist | |
| Mario P. Székely | .... | set publicist | |
| Juan Uruchurtu | .... | production liaison | |
| Dylan Verrechia | .... | office intern | |
| Fabian Valdez | .... | production assistant (uncredited) | |
Thanks | |||
| Jonás Cuarón | .... | special thanks | |
| Alejandro González Iñárritu | .... | special thanks | |
| Timothy J. Sexton | .... | special thanks | |
| Guillermo del Toro | .... | thanks | |
| Fernando Trueba | .... | special thanks | |
| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Mexico section |
Y tu mamá también offers an extreme insight into the rampant sexuality of Mexico's young adults. The film depicts lives of two teenage boys against the backdrop of present-day Mexico. In his film, Alfonso Cuarón not only describes the sexual experimentation of Mexican youth, but he also addresses the impact wavering politics and an unstable economy has on the Mexican people as a whole.
The film takes place in 2001, just one year after the election of Vincente Fox, a member of the opposition party. After about 70 years of revolutionary presidents, Mexican government underwent a radical change during the time of the narrative, as well as the film's release. Mexico has undergone numerous financial fluctuations throughout its history as a country, and recent years have brought along various economic lows. The extreme changes in economy throughout history caused Mexico to have a large separation between each of its economic classes. In his narrative the two young boys who take a journey to a beautiful land with a beautiful woman seem to represent the desires of most Mexicans during this insecure time.
Julio (Gael García Bernal) and Tenoch (Diego Luna) embark on a thrilling journey filled with sexual exploration and an investigation of their inner selves. After convincing the beautiful Luisa (Maribel Verdú) to take a trip with them to an imaginary beach, the trio heads off in search of adventure. Self-discovery ensues when Luisa seduces both boys and convinces them to make love with each other during their last romantic encounter. The raw sexuality displayed throughout this movie seems to encapsulate the uninhibited nature of Mexican youth.
While the full frontal nudity and unashamed sexual acts performed on screen may be disturbing to an American audience, Mexican cinema seems to embrace sexuality with open arms. While they do not leave anything to the imagination, the sex scenes throughout Y tu mamá también are beautifully orchestrated. These scenes absorb the magnificence of sexual attraction and the inhibition that comes along with this temptation.
While the film utilizes the characteristics of raw sexuality at its core, the underlying message of the film seems to encompass the trials of politics and economy within Mexican society. Julio comes from a lower-middle-class family, while his best friend, Tenoch, is the son of a high-ranking politician. As their mental age begins to grow throughout the film, the distinction among their varying classes also becomes clear. It is this distinction that ultimately drives them apart. Cuarón uses the distinct lives of these two boys to comment on the state of Mexico's political affairs. While the large separation between classes is rooted in economics, the separation also occurs within the lifestyles and moral character of each class's constituents.
Cuarón's film Y tu mamá también depicts the raw sexuality apparent in Mexican society, and also indirectly comments on the political atmosphere of the country. Through the use of a compelling story of self-discovery and the beautiful landscapes of the Mexican countryside, Cuarón offers his audience a glimpse of Mexico through the eyes of one of its citizens. While the underlying meanings apparent throughout the film are deeply rooted in the political principles of Mexican society, the narrative of the film introduces a moving story that forces its audience to fall in love with its characters despite their downfalls. On a scale of 1 10, Y tu mamá también is definitely a 10.