With Alfonso Cuarón by flag and an Army of representatives of the Mexican seventh art, the Morelia International Film Festival, the most important national cinematography contest next to the Ariel awards, from the Academy, returns to show off his best clothes on his sixteenth anniversary. Fiction recovers its leading role before the doubts that arose last year in this same appointment and returns with force: if not to unseat, yes to occupy its place in front of the documentary. In a year marked by Me Too movement, this edition also has a large female representation: more than half of the nominees for the star sections of fiction and documentary feature films are women.
The Mexican cinematographic production lives a good moment. And this is reflected in the Festival of Morelia (FICM). Beyond the fact that two Mexican filmmakers have consecutively won the acclaimed Golden Lion of Venice (Cuarón, this year, with Rome; Guillermo del Toro, in 2017, by The shape of the water), tapes like the intimate Our time by Carlos Reygadas and Museum, inspired by the theft to the Museum of Anthropology of the Mexican capital in the already distant Christmas of 1985, by Alonso Ruizpalacios, have had a relevant presence in international festivals.
The success abroad, together with long-awaited releases such as those of The girls well, by Alejandra Márquez Abella or Bayonet, by Kyzza Terrazas, both in the FICM, allow the genre of fiction to walk with its head held high. As if it were communicating vessels, the good state of health enjoyed by the documentary last year – which came to represent Mexico at the Oscars with Storm, by Tatiana Huezo– He raised the need to take the pulse of Mexican fiction. Today, the tables have changed again: this edition of the Morelia Festival has an equal number of nominees in the fiction and documentary feature films categories (11), compared to seven and 15, respectively, in 2017.
Between Saturday October 20 and Sunday 28, will walk through the streets of the Michoacán capital (western Mexico) the aforementioned director of Rome, the renowned Gael García Bernal and the promising filmmaker Manolo Caro, among many others. Also, a large number of aspiring artists revelation, in a meeting, founded and chaired by Alejandro Ramírez, general director of the large film distribution company Cinépolis.
The feminine presence
The Mexican cinema selected for this edition of the Festival of Morelia It also enjoys a deserved female representation. Six of the 11 nominees, both fiction and documentary films, are women. The directors Alejandra Márquez Abella, for The girls well, Kenya Márquez, for Suffocation, Lila Aviles, for The maid, Iria Gómez Concheiro, by Before forgetting, Bani Khoshnoudi, for Fireflies, and Marta Hernaiz, for The chaotic life of Nada Kadic, they will exhibit their work. Although the FICM has always had the presence of women – last year there were seven out of 15 nominated documentaries and three out of seven in fiction – this year the 50% barrier has been broken.
The woman has gained weight not only behind the cameras, but also before them. Rome, by Alfonso Cuarón, is starring debutante Yalitza Aparicio, who plays Cleo, a domestic employee, and who has ended up taking a good part of the applause to the film. In Our time, by Carlos Reygadas, his wife Natalia López acts as a co-star and his role ends up becoming the vertex of the plot and a turbulent love triangle