Pancho and Mari Reyes (Alejandro Herrera and Ana de la Reguera) form a middle-class family with their two children. He strives day-to-day to fulfill those aspirations that can lead him to a better position within the company he works for.
But one day he is called by Rosendo, his father (Damián Alcázar, Crónicas, Ecuador, 2004) to tell him that his grandfather (Joaquin Cosio) died. To read the will, you have to be in La Prosperidad, which is what the city calls it a cruel paradox. In fact, Pancho does not want to know anything about his family, which is quite poor, which he abandoned in search of a better future. He is finally happy, remembering how much the old man loved him. Disregarding the moment that gesture would change his life.
In the Hollywood of the 1930s and 1940s, there were two such directors who put the picture of man and his existence on the screen. They were Frank Capra and Preston Sturges, who delivered Live As You Want (1938) and For Getting in the Redeemer (1942).
Now Mexico, through Luis Estrada, makes a very long film (more than three hours) and leaves a painting – controversial for many and wonderful for others-, but which is basically a tribute to Capra and Sturges .
Mexicans claim they denigrate the Aztec nation and the satire against its president (Andrés Manuel López Obrador) is full of classicism and racism, which is uncomfortable because of its biting, unoriginal and repetitive nature. I find her very cruel and provocative. I see a black comedy with overtones of reality, because the family one draws or caricatures could be from any Spanish-speaking country…
There are politicians who feign corruption, lawyers who cheat their clients, officials who are as scoundrels as judges, and newly married families. Conclaves who feed their relatives with money, hypocritical priests and, in general, those who live in poverty because of their prescribed devastation.
But it is also accompanied by unsophisticated and other unpleasant scenes. But you have to watch it so everyone can draw their own conclusions. You find it on Netflix.
The performances range from over the top to on point. Alcazar and Cosio stand out by giving life to three characters: Dada, Rosendito and Reginito, sometimes so well portrayed that the interpreter is not recognized at first glance.
Ana de la Reguera is perfect as the wife who only thinks about designer clothes and accessories, a figurehead by nature and fifi in her demeanor. Herrera trades between low and high, he lacks sophistication.
The actress playing the grandmother (Angelica Peláez) is neat, precise. And, above all, the actors and actresses who embody such a unique family.
The cinematographic images come wrapped in yellow, which in cinema is synonymous with falsehood, arrogance, cowardice and all in this feature film. What stands out is the soundtrack and its classic tunes, songs that are already part of the musical baggage of the Mexican land.
The wardrobe is appropriate and serves to show the vibrating difference in social classes. But, above all, the actors integrating it are commendable: they all elevate their roles with a skill that is reminiscent of the golden age of Mexican cinema.
There is no doubt that we are faced with a fascinating, interesting film, although some viewers may dismiss it for its harshness, especially Pancho’s attitude at his grandfather’s grave or Jacinto/Jacinta (Cuahuatli Jiménez) Ease presented by
In short, long live Mexico! It’s sharp, but also uncomfortable and disturbing, but that’s no deterrent to the keen eye that seeks filmic excellence.
Fast and Furious X. We have reached the end of the road. The tenth installment of Fast & Furious is the final chapter of one of the most popular franchises in world cinema.
Now in its third decade (with the same cast and characters chosen from the beginning), Dom Toretto (Vin Diesel) and his family have overcome all enemies that stand in their way. But right now, he must face a terrifying threat from the past who, driven by bloody vengeance, seeks to destroy not only his family, but everything and everyone Dom holds dear.
