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The Poetics of Contrast: Alfonso Cuarón's Negotiation of Mexican Progress in Y tu mamá también (2001) and Roma (2018)

Document Citado por Relacionados
Vincent
AutorManon H. Lemaire
Páginas587-597
587
DERECHOS HUMANOS ANTE LOS NUEVOS DESAFÍOS DE LA GLOBALIZACIÓN
The Poetics of Contrast: Alfonso Cuarón’s Negotiation of
Mexican Progress in Y tu mamá también (2001) and Roma (2018)1
Manon H. Lemaire
CUNY, Graduate Center
mhakemlemaire@gradcenter.cuny.edu
Abstract
How does Mexican cinema challenge national status quo, the canon of whiteness,
and hegemonic masculinity? This paper identifies the motif of contrast in two films
by Alfonso Cuarón and demonstrates that dual narratives are the necessary means
through which criticism is conveyed, and Mexico’s antithetical social and political
dynamics are portrayed. Award-winning Y tu mamá también (2001) uses the genre
of coming-of-age, road-trip movie to address the Mexican contradiction between
revolutionary impetus and persisting patriarchal attitudes. The film is defined by
duality: the married woman Luisa Cortés, visiting from Spain, seduces the two
teenage Mexicans Julio Zapata and Tenoch Itúrbide; the character’s names are
borrowed from historical Spanish colonizers and Mexican revolutionaries; the “sea,
sex and sun” narrative is regularly interrupted by documentary-style episodes and
their political voiceover; homoerotic tension is juxtaposed to demonstrations of
traditional mexicanidad and macho instincts. Manifold contrasts, binaries and
dualities also characterize the new Golden-Globe winner Roma (2018): black/white,
Indigenous/white, Mixtec/Spanish, motherhood/child-caregiver, dirt/cleanliness,
speech/silence, etc. The camera moves constantly and yet draws attention to great
1 First published in the Conference Proceedings of Intersections | Cross-sections 2019: “Versus,”
Graduate Conference & Art Exhibition, Ryerson University a nd York University, Toronto, Canada,
March 2019

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