A single director was nominated in the category of best film in the last edition of the Oscars. None in 2017 and there were no women in 2016. One among 21 filmmakers aspired to a Golden Lion at the last Venice Mostra. And three were selected in Cannes among 21 filmmakers. In fact, the French festival was the scene of an image for history: that of inequality in cinema. 82 women were photographed at the venue to remember that only 82 directors have been awarded since 1946, compared to 1,688 men.
But the Los Cabos Film Festival has launched in this edition the most feminist look in its seven years of history. Six of the 14 competing films have been directed by a woman. Last year there were two and in 2016 three filmmakers aspired to win a prize in their two main categories. A contest that will offer between 7 and 11 November a broad portrait of the struggle of women against machismo.
In eight films the plot also focuses on them. In the daily battle of an immigrant in the United States, in the voluntary interruption of a pregnancy or in the fear of living in a country where they are constantly abducted. But the feminine look of the contest goes beyond. It is also a woman who orders and commands the drug business in Summer birds. The film by Cristina Gallego and Ciro Guerra, which opened the Cannes Directors' Fortnight and is nominated for the Oscars, delves into the origins of drug trafficking in Colombia. Travel to La Guajira, where the Wayúu community began to traffic with marijuana until the ambition ended up destroying everything. "Drug trafficking is a great tragedy that destroyed our society and our roots. It is the story of the bloodshed in our country and also the arrival of wildest capitalism ", Guerra counts in a recent interview with EL PAÍS.
In Skate Kitchen, the American filmmaker Crystal Moselle tells the story of a group of skaters who are struggling to make a hole in a track in New York, where the atmosphere is fundamentally masculine. In Mexico, where narcos rule and women suffer constant kidnappings, a girl will have to confront the boss of the place in Buy me a revolver by Julio Hernández Cordón.
Among the films selected to participate in this seventh edition of the festival is also found Storks by Heriberto Acosta, a film that focuses on Claudia, a young woman from Guadalajara who wants to end her pregnancy. A cruel and macho world is portrayed in Genèse, through the eyes of two brothers. In this film by the Canadian Philippe Lesage, a teenager faces the possible breaking of ties with his best friend when he realizes his sexuality, while for his sister Charlotte everything falters when her boyfriend proposes an open relationship.
In History classes, Marcelino Islas tells the life of Veronica, a history teacher with a life full of monotony and a little comforting marriage. Despite suffering from a terminal illness, the arrival of a new student to high school will transform him.
Josephine Decker portrays in Madeline's Madline the project of Evangeline, a theatrical director who takes advantage of the conflict between the protagonist of the work and her mother to enhance her project. He also competes in the Los Cabos International Film Festival, Lemonade, by Ioana Uricaru, a film that tells the story of the battle of a Romanian immigrant in the United States against the abuse of the power of a migrant agent.
The drama of migrants is also portrayed in Bisbee'17 Robert Greene, who is entering an old mining town on the border of Arizona and Mexico that has suffered the deportation of 1,200 immigrants.
The trip of Philippe, an imitator of Chaplin, by the United States during an endless world war is portrayed in The Great Darkened Days, of the director Maxime Giroux. Meanwhile in We the animal, of Jeremiah Zagar, the imagination of the youngest of three brothers will be his best ally before a family in disintegration.
The universe of the Mexican sonideros is reflected in I'm not handsome by Joyce García. And in Feral, Andrés Kaiser's debut film, it was traveled until 1986 when a priest documented in videocassettes the incorporation of three wild children into Oaxacan society. Andrea Bussmann also moves to Oaxaca on her tape Splendor in which a real estate project forces one to delve into the myths of the coast of this State.
14 films divided into two categories – Mexico first, which brings together Mexican feature films and Los Cabos Competition where the films produced in Mexico, the United States and Canada compete – to connect the films made in North America.