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Un mundo maravilloso (2006)

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A fairy tale about the political and socioeconomic realities of Mexico.


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Title: Un mundo maravilloso (2006)

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Cast overview, first billed only:
Juan Pérez
Antonio Serrano ...
Ernesto Gómez Cruz ...
Compadre Filemón
El Tamal
Silverio Palacios ...
El Azteca
Director del Periódico
Carlos Arau ...
Joven Reportero
Jorge Zárate ...
Lalo, Secretario Particular
Guillermo Gil ...
Cara de Rata - padre de Rosa
Max Kerlow ...
Carmen Beato ...
La Nena - esposa del Ministro
Larry Silverman ...
Doctor Goldberg
Asesor Financiero
Asesor Político


Once upon a time, Juan Pérez, the poorest of the poor, reaches fame in a fluke accident in what seemed to be an attempt of suicide, to protest against the government and his social condition. The Ministry of Economy, surrounded by the scandal in which he is blamed by Pérez's decision, decides to reward him changing his life giving him a little house, a car and a job. But when other poor people (Pérez's close friends) find out about his reversal of fortune, decide to imitate him faking suicide attempts in different buildings in Mexico City. The Ministry of Economy, terrified by the glance of having a plague of beggars, decides to declare poverty a crime and hence finish for once and for all with all the poor in the country. Pérez ends up behind bars. Three years later, Pérez is released and goes back to his previous social condition, but this time, aware of having one day as a rich man is better than a life as poor, he will do anything to get out of his misery... And he will manage to ... Written by Juan pérez

Plot Summary | Add Synopsis


Comedy | Drama | Thriller


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Official Sites:



Release Date:

17 March 2006 (Mexico)  »

Also Known As:

A Wonderful World  »

Filming Locations:

Box Office

Opening Weekend:

$645,881 (Mexico) (17 March 2006)


$2,053,189 (Mexico) (31 March 2006)

Company Credits

Show detailed on  »

Technical Specs

Sound Mix:


Aspect Ratio:

1.85 : 1
See  »

Did You Know?


When Juan Perez (Damian Alcazar) is interrogated, after being asked his alias, he says, among others, "Varguitas", which was Alcazar's character in a previous movie, "La Ley de Herodes", with the same director, Luis Estrada. See more »


The portrait that appears in the house of the politician Lascuraian, the Secretary of Economy of México, is, in fact, the portrait of Porfirio Díaz, president of México (1877-1911), and not from José Ives Limantour, Secretary of Economy of México in Diaz administration See more »

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User Reviews

Not a very bright film
18 February 2008 | by (NYC) – See all my reviews

I had really liked director's Luis Estrada dark political satire La Ley de Herodes and I was looking forward to this one. But A Wonderful World disappoints. It is a political satire/fable, and the premise is interesting. In a not too distant future, the Mexican Minister of Economy declares there is no more poverty in Mexico and plans to run for the leadership of the World Bank. However, a homeless drunk gets in his way. On paper, the movie should work like a charm. It's a very dark satire of the Mexican elite's indifference to the poor. But the execution is very flawed, even if the film boasts a veritable roster of some of the best Mexican acting talent around. This is what really bugged me: The rhythm is glacial. The plot meanders. And every scene is way too long. Every scene could have been cut in half and it would have still expressed its point, but Estrada loves the sound of characters cursing colorfully yet endlessly. He and his co-screenwriter, and the editor haven't apparently gotten yet William Shakespeare's memo that brevity is the soul of wit, and so it is with this film -- long and increasingly witless. Satire requires precise, surgical timing, economy of words and feelings and a coldish heart. None of this is in evidence here. There is a virulent strain of sentimentality coursing through this film's veins that really is unbearable. It's so bad that in scenes where the bum cries you can actually hear they added sniffles in post-production. So cheesy! There is a ridiculous, rather offensive love story, between the bum, played with great panache, and quite some hambone by Damián Alcázar, and a poor woman called Rosita, played by the unfathomably ubiquitous Cecilia Suárez. Now why is this offensive? 1. Because Cecilia Suarez is not believable as an impoverished inhabitant of a slum. She is tall and pretty and white as snow and and her attempts at sounding low class are absurd. I wonder if there are no other Mexican actresses available that don't look like they were born with a silver spoon in their mouths. She seems like she's trying to channel a silent film actress and the comic character of La Chilindrina, and she is not only insufferable but silly. Why could a poor woman not be anything other than a blathering, innocent imbecile? It is a disgraceful performance and no friend of anybody who is poor. 2. Because the Mexican rich and or middle class (and this includes the filmmakers) still think that the poor speak and behave like comic characters out of a 1940's movie. This may have been the intention, but it backfires, because instead of portraying them with some modicum of dignity, they are just corny stereotypes. Good hearted and innocent, to boot. This is patronizing. And patronizing is what the Mexican elites are and have always been to the poor. This is actually one of the points of the movie so it is rather maddening that this awareness didn't seep through to the way the poor are portrayed. The bum has a collection of bum friends (all great Mexican actors: Jose Carlos Ruiz, the great Jesús Ochoa and the great Silverio Palacios) and they are cool, but the direction as usual is as broad and unsubtle as if they were playing to the rafters in Azteca Stadium. 3. There is a sequence in a hospital which is a completely unnecessary, cheap, pathetic dig at Mexican Jews (which by the way, are like less than 1% of the general population). It's supposed to be a very fancy private hospital, called Sinai, and it seems like all the patients wear yarmulkes just so you don't miss the point that Jews are the only people in Mexico who can afford fancy hospitals, which of course is not true. An attempt at wit is to see signs for the spa and the golf course and the pool in the hospital's lush grounds. My heart froze when I saw this. It is amazing to me that screenwriters Estrada and Sampietro would write something so objectionable, so stereotypical, so inane and so uncalled for. 4. I can imagine what they were trying to achieve with the production design, which oscillates between the shiny modern Mexico and the slums, which are given a sepia, Fellinesque treatment, but even this seems pretentious and half baked. In short, a good idea terribly executed. Lazy and mediocre, written with more stupidity than wit.

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