Gueros

This film stands out among the majority of contemporary Mexican films, this film is very interpretive and it may be that you do not understand what it means at first, but analyzing it in depth you can see an effort to do something of quality. Although the main story is not very attractive, the situations that the characters go through become a message and a portrait of the reality of Mexico City. I don't want to go deeper because I think that everyone should have their point of view on what is portrayed in this film.

On the technical side, the performances are very good, the photography is good, the production design is good, the direction is very good, in general it is a different film from the rest, deep and realistic.

Set in 1999 against a backdrop of student protests, Güeros is a road movie that becomes a voyage of discovery for three rootless young people seeking to bridge the gap between aimlessness and social purpose. The debut feature film by Mexican director Alonso Ruizpalacios received twelve nominations at the 57th Ariel Awards, the Mexican equivalent of the Oscars, winning five of them including Best Film, Best Director, Best First Film, Best Sound, and Best Cinematography (Damian Garcia). Shot in black-and-white, the film is evocative of the French New Wave, balancing highly structured sequences with segments of spontaneous and playful improvisation.

In the film, Tomas (Sebastian Aguirre), a disruptive pre-teen in Veracruz is sent by his overburdened mom to Mexico City to live with his brother Federico (Tenoch Huerta), a slacker college student known as Sombra because of his dark skin. Tomas is called a "güeros" because of his lighter complexion underscoring an element of racial conflict in Mexican society. Living with his similarly uninvolved roommate, Santos (Leonardo Ortizgris) in an apartment complex in Copilco that looks as if it's next on the waiting list for demolition, Sombra's position on the student strike is firmly in the middle, saying that he is "on strike against the strike." His daily activity consists of …well, nothing much. He and Santos sit around watching TV by borrowing an electrical cord from a little girl downstairs, an action that does not sit too well with the girl's father.

Bored, Tomas decides that a little adventure never hurt anyone and comes up with a plan to find Epigmiento Cruz in order to have him sign their well-worn cassette tape. An enigmatic folk singer from the sixties who their father loved, Cruz is a symbol of something bigger than them,a larger than life hero who can make them see what's behind things. As Sombra says, "If you can see behind things, the only thing they can't take away from you is that feeling."

Though the singer is rumored to be sick or dying, little güerito tells Fede that Cruz "once made Bob Dylan cry," presumably an accomplishment worthy of a place in the hall of fame. The trip, according to Ruizpalacios, was inspired by Bob Dylan's journey to visit an ailing Woody Guthrie in the hospital during the late 50s. Shrugging off a panic attack which is carefully explained to him at the hospital, Sombra visits the Universidad Nacional Autónoma de México (UNAM) where students are on strike to show their disagreement with the administration's decision to instate an enrollment fee even though the University had always been free.

Sombra, Santos, and Tomas walk into an auditorium overflowing with protesters listening to Sombra's former girlfriend Ana (Ilse Salas) speaking in front of the room. The scene is filled with shouting and confrontation, a chaotic depiction not to the liking of some former protesters who complained about the unserious tone of the segment. As Ana joins the trio to look for Cruz, their quest leads them to a pool party where well-to-do intellectuals muse about the sorry state of Mexican cinema.

Here the film engages in a sort of self-parody as one director complains that all Mexican movies deliver a picture of impoverished beggars to satisfy Western audiences at film festivals. Sombra also chimes in, saying that Mexicans are often portrayed as cheaters, atheists, prostitutes and alcoholics. Güeros ultimately takes many detours and shifts of perspective but, though it is episodic in structure, never loses its footing as the search for the legendary Epigmiento allows the seekers to move from a place of apathy to one of self-acceptance and commitment.

Ruizpalacios describes the film's central theme as "the change from being static to being in movement. Healing through movement." However you interpret Güeros' message, the film has an invigorating appeal: fresh, playful, and meaningful, even suggesting at one point that the seeming randomness of life is guided by divine purpose. Sombra says at one point that "If the world is a train station and the people are the passengers, those who stay at the station and watch the trains go by are the poets, the ones who come and won't go." Tomas is one who watches the trains depart, seeing as we all have once with the innocent eyes of discovery as the city unfolds before his eyes with all its massive contradictions, encompassing the best and worst of humanity.

I think the humanity shown in this film is amazing, because it doesn't have a presemptuous character is able to deliver, in a natural way, a very powerful message. I completely recommend it and I think it speaks about important topics in Mexico.

This movie is black and white and it has a different frame ratio. At first, i thought they were going to do it because they wanted it to look like an art film but if you ask me, from what i watched, i am certain that this was done because of artistic and also satiric reasons. This movie is a great drama and also is a great comedy. Directing is really unique. Movie doesn't treat it's audience like they are stupid people. Movie respects the audience. For example, instead of a broken elevator sign, you see the inside of the elevator and you see that it doesn't come. When the character goes in a dark room, actor isn't pretending to be in a dark room, it is not a low lighted room that you can see but actor can't, you also can't see anything and it feels real. When a character closes other's eyes, before you see that, also your view is blocked by hands on the camera, which is your eyes. You feel like you are inside the film and it is amazingly done. When they listen to the song that should be amazing you hear nothing at all because they want you to imagine it since it will be different for everyone. And there is a scene in the school that it is really really funny and intelligently done. I won't spoil but i was laughing way too much at it. Movie tells a few different stories, panic attack, love, friendship, revolution and a whole other themes that are followed by their own scenes. Every thing in the movie leads somewhere and in every ending, it remind us that the world is cruel.Movie is funny, dramatic and exciting and overall it is very good. It makes fun of the Mexican so called art movies and also that maybe the cause of the black and white colour of the film. And it succeeds to be satiric in a good way. I am giving this 8/10 because i felt like it dragged a little on the last act. But, nonetheless i found it to be very intelligent.

First of all, there is a simple question to ask yourself in order to find out if you're likely to enjoy this movie: have you seen and enjoyed films like P.T. Anderson's "Inherent Vice" and "Punch-Drunk Love"; or the Coens' "A Serious Man" and "Inside Llewyn Davis"; or even that other work in the oddly specific Mexican cinema genre of "Mexico City's disenchanted youth living in unidades habitacionales (low-income housing complexes, similar to the British council estates or the U.S. projects), going from action to action without much ambition, peppered with existential and black humor and shot in black and white" that is "Temporada de Patos" ("Duck Season")? If so, boy are you gonna love this one!

"Güeros"'s title referring to white people might make one think that this is a politically-charged deconstruction of racism and classism in Mexico, but much like the film makes a point of saying how difficult it is to define who IS a "güero" in Mexico, it also makes a point of saying how difficult it is to define pretty much ANYTHING in this culture. Politics and society unquestionably play a role in the film, but more as a backdrop (an inescapable one if you happen to live here) than as a main subject. Overall, the film is content in hopping from place to place and short mission to short mission, only offering glimpses of the reality it is set in, in order to make its grandest statement that is about, well... nothing.

Much like most of the films mentioned at the start, "Güeros" is existentialist at its core, the aimlessness and lack of a point IS the point. Unlike other pointless films however, "Güeros" is rarely boring. The chemistry between the main characters, the tiny mysteries woven into their world, the gorgeously simplistic imagery, the unexpected twists (including some weird meta references and even an instance of the fourth wall being broken) and, most of all, the amazingly witty dialogue ("Güeros" is FAR more, and more universally, funny than the vast majority of Mexican films that have the gall to call themselves "comedies") make the experience of watching this film more enjoyable and more likely to stay with you than most other films of its kind.