María Elena Velasco

Total Page:16

File Type:pdf, Size:1020Kb

María Elena Velasco THE MEXICAN FILM BULLETIN Volume 21 Number 3 (May-June 2015) The Mexican Film Bulletin Volume 21 Number 3 May-June 2015 2015 Ariel Awards Best Actress th Ilse Salas / Güeros The 57 Ariel Awards ceremony was held on 27 May Karina Gidi / La guerra de Manuela Jankovic 2015 at the Palacio de Bellas Artes in Mexico City. Adriana Paz / La tirisia Blanca Guerra, president of the Academic Mexicana de Cassandra Ciangherotti / Las horas contigo Ciencias y Artes Cinematográficas, spoke in favour of Irene Azuela / Las oscuras primaveras more government Best Co-Starring Actress support for Mima Vukovic / La guerra de Manuela Jankovic the Mexican Mercedes Hernández / La tirisia film industry. Isela Vega / Las horas contigo Cecilia Suárez / Las oscuras primaveras There were Margarita Sanz / Las oscuras primaveras homages to three Best Co-Starring Actor writers— Luis Alberti / Carmín tropical each with Alonso Echánove / Cuatro lunas connections to Mexican cinema--who passed away in Álvaro Guerrero / Eddie Reynolds y los Ángeles de acero 2014: Gabriel García Márquez, Vicente Leñero, and José Carlos Bardem / González Emilio Pacheco. Noé Hernández / La tirisia There was no overwhelming winner of the evening, although Güeros , a comedy-drama about young people Best Photography in Mexico City-- shot in black-and-white and 4:3 aspect Alejandro Cantú / Carmín tropical ratio--won 5 prizes including Best Film and Best Damián García / Güeros Carlos Hidalgo / Guten Tag, Ramón Direction. Other films which took home multiple Arieles César Gutiérrez / La tirisia included La tirisia , Obediencia perfecta, Las oscuras Tonatiuh Martínez / Las oscuras primaveras primaveras, Cantinflas, and Visitantes . Career achievement Arieles de Oro were presented to Best Adapted Screenplay producer Bertha Navarro and special effects supervisor Mauricio Walerstein, Claudia Nazoa, Federico Reyes Heroles / Miguel Vázquez. Canon (Fidelidad al límite) Best Film José Buil / La fórmula del doctor Funes Carmín tropical Ernesto Alcocer, Luis Urquiza / Obediencia perfecta Güeros Guten Tag, Ramón Best Original Screenplay La dictadura perfecta Rigoberto Perezcano / Carmín tropical Las oscuras primaveras Fernando del Razo, Christian Díaz / González Alonso Ruizpalacios, Gibrán Portela / Güeros Best Director Jorge Ramírez-Suárez / Guten Tag, Ramón Rigoberto Perezcano / Carmín tropical Luis Estrada, Jaime Sampietro / La dictadura perfecta Alonso Ruizpalacios / Güeros Jorge Ramírez-Suárez / Guten Tag, Ramón Best Original Music Luis Estrada / La dictadura perfecta Luca Ortega / Carmín tropical Ernesto Contreras / Las oscuras primaveras Mario Lavista / Eco de la montaña Tomás Barreiro / Güeros Best Actor Emmanuel del Real, Renato del Real, Ramiro del Real / Las Óscar Jaenada / Cantinflas oscuras primaveras Harold Torres / González Kenji Kishi Leopo / Somos Mari Pepa Tenoch Huerta / Güeros Kristyan Ferrer / Guten Tag, Ramón Best Production Design Juan Manuel Bernal / Obediencia perfecta Christopher Lagunes / Cantinflas Sandra Cabriada / Güeros Salvador Parra / La dictadura perfecta 1 THE MEXICAN FILM BULLETIN Volume 21 Number 3 (May-June 2015) Antonio Muñohierro, Mariana Fernández / La guerra de Santiago Núñez, Pablo Lach, Hugo de la Cerda / La dictadura Manuela Jankovic perfecta Julieta Álvarez / Obediencia perfecta Enrique Ojeda, Enrique Greiner / Las oscuras primaveras Best Film Editing Best Costume Design Miguel Schverdfinger / Carmín tropical Gabriela Fernández / Cantinflas Yibrán Asuad, Ana García / Güeros Laura García de la Mora / Carmín tropical Jorge Ramírez-Suárez, Sonia Sánchez, Sam Baixauli / Guten Gabriela Fernández / Eddie Reynolds y los Ángeles de acero Tag, Ramón Mariestela Fernández / La dictadura perfecta Mariana Rodríguez / La dictadura perfecta Josefina Echeverría / Obediencia perfecta Valentina Leduc / Las oscuras primaveras Best Makeup Maripaz Robles / Cantinflas Best Animated Short Maripaz Robles / Carmín tropical El color de mis alas / Miguel Anaya Felipe Salazar / Eddie Reynolds y los Ángeles de acero El modelo de Pickman / Pablo Ángeles Zuman Roberto Ortíz, Felipe Salazar, Elena López / El crimen del El trompetista / Raúl Alejandro Morales Cácaro Gumaro Tierra seca / Ricardo Torres Felipe Salazar / La dictadura perfecta Tlacuache de maguey / Miguel Anaya Best Special Effects Best Documentary Short Ricardo Arvizu, Willebaldo Bucio / El crimen del Cácaro El palacio / Nicolás Pereda Gumaro El penacho de Moctezuma. Plumaria del México antiguo / Alejandro Vázquez / La dictadura perfecta Jaime Kuri Nury Álamo, Karina Rodríguez, Alfonso Moreno / La fórmula Jefe del desierto / Alejandro Ramírez del doctor Funes Perreus / Kalien Delgado Adrián Durán / Más negro que la noche Ulterior / Sabrina Muhate Ricardo Arvizu / Visitantes Best Fictional Short Best Visual Effects 400 maletas / Fernanda Valadez Marco Rodríguez / Cantinflas Ella / Ximena Urrutia Fabián García, Cyntia Navarro, Paula Siqueira / Eddie La carta / María de los Ángeles Cruz Reynolds y los Ángeles de acero Nunca regreses / Leonardo Díaz Paula Siqueira, Michael Hoffmann, Raúl Prado, Cyntia Ramona / Giovanna Zacarías Navarro, Charlie Iturriaga / El crimen del Cácaro Gumaro Adriana Arriaga / La dictadura perfecta Best Documentary Feature Charlie Iturriaga / Visitantes Bering. Equilibrio y resistencia / Lourdes Grobet Eco de la montaña / Nicolás Echevarría Best First Work H2Omx / José Cohen, Lorenzo Hagerman González / Christian Díaz Los años de fierro / Santiago Esteinou Güeros / Alonso Ruizpalacios Navajazo / Ricardo Silva Las horas contigo / Catalina Aguilar Los bañistas / Max Zunino Best Iberoamerican Film Obediencia perfecta / Luis Urquiza Conducta (Cuba) / Ernesto Daranas La isla mínima (España) / Alberto Rodríguez Best New Actress Mr. Kaplan (Uruguay) / Álvaro Brechner Vico Escorcia / Eddie Reynolds y los Ángeles de acero Pelo malo (Venezuela) / Mariana Rondon Gabriela Cartol / La tirisia Relatos salvajes (Argentina) / Damián Szifron Magda Ortiz / La tirisia Nora Isabel Huerta / Seguir viviendo Ariel de Oro Petra Iñiguez / Somos Mari Pepa Bertha Navarro Miguel Vázquez Best New Actor Sebastián Aguirre / Güeros Daniel Carrera / La fórmula del doctor Funes Hayden Meyenberg / Las oscuras primaveras Sebastián Aguirre / Obediencia perfecta María Elena Velasco “La India Alejandro Gallardo / Somos Mari Pepa Maria” 1940-2015 Best Sound Actress, producer, writer and director María Elena Pablo Tamez, Ruy García, Branka Mrkic / Carmín tropical Velasco died in Mexico City on 1 May 2015; she was 74 Axel Muñoz, José Miguel Enríquez, Pablo Fernández, Víctor years old. Although no cause of death was stated, she Manuel Barragán / González had been diagnosed with stomach cancer a number of Isabel Muñoz, Pedro González, Gabriel Reyna, Kiyoshi years earlier. Osawa, Jaime Baksht, Michelle Couttolenc / Güeros María Elena Velasco Fragoso was born in Puebla in December 1940. She began working as a dancer and 2 THE MEXICAN FILM BULLETIN Volume 21 Number 3 (May-June 2015) comedic actress in Mexico City venues such as the Dialog Rec : Consuelo Jaramillo; Asst Dir : Fernando Tivoli, Follies, Lírico, and Blanquita variety theatres. Durán; Makeup : Tony Ramírez; Union : STIC Her film and television career began in the early 1960s Cast: María Elena Velasco "La India María" [María and she eventually Elena Velasco] ( María ), Eleazar García "Chelelo" ( don developed her signature Braulio ), Fernando Luján ( Raúl ), Emma Roldán ( doña “India María” character. Paz ), Óscar Ortiz de Pinedo ( don Marciano ), Gloria Tonta, tonta pero no tanto Mayo ( Laura ), Wally Barrón ( "Frankie" aka Insp. (1971) was her first Maldonado ), Carlos Bravo Fernández "Carl-Hillos" starring role, and 16 more (lawyer ), José Cibrián Jr. ( gringo tourist ), Antonio “India María” vehicles Bravo ( doctor ), Alfonso Zayas ( traffic cop ), Mimí ( dog ) followed, concluding with [the credits indicate the dog was owned by Chelelo], La hija de Moctezuma René Cardona III (2011, released in 2014). Velasco’s character— “María Nicolasa Cruz”-- stereotyped and naive but immensely likeable and always depicted as morally superior to those around her, made her one of the major box-office attractions of the 1970s and 1980s. In addition to her feature films, La India María also appeared on the stage, in foto-comics and in a 1990s television series (“Ay María, que puntería!”). Fernando Cortés directed the first seven India María vehicles, but after his departure Velasco began to take on additional Notes : this film has been a sore spot with me for a responsibilities in the number of years, since my Mexican Filmography book production of her own contained a major error in the description (indicating the movies. She co-directed animal that María cares for is a cat, rather than a dog). It Okey Mister Pancho wasn't my fault, I'd never seen El miedo no anda en (1979) with Gilberto burro and I was misled by a secondary source (the Martínez Solares, then usually reliable Historia documental del cine mexicano ), directed or co-directed 4 but it still rankled. additional features, also Many years later, I have finally watched the film working on the scripts of and—trying to be objective—consider it one of the lesser all of her films from 1979 onward. She produced many India María vehicles (although it was fantastically of her later features, as well as Huapango (2001), a non- successful at the box-office). Although the direction is India María movie in which she had a supporting role weak and the script is repetitive and predictable, one of and received an Ariel for Best Adapted Screenplay
Recommended publications
  • 2009 Sundance Film Festival Announces Films in Competition
    Media Contacts: For Immediate Release Brooks Addicott, 435.658.3456 December 3, 2008 [email protected] Amy McGee, 310.492.2333 [email protected] 2009 SUNDANCE FILM FESTIVAL ANNOUNCES FILMS IN COMPETITION Festival Celebrates 25 Years of Independent Filmmaking and Cinematic Storytelling Park City, UT—Sundance Institute announced today the lineup of films selected to screen in the U.S. and World Cinema Dramatic and Documentary Competitions for the 25th Sundance Film Festival. In addition to the four Competition categories, the Festival presents films in five out-of-competition sections to be announced tomorrow. The 2009 Sundance Film Festival runs January 15-25 in Park City, Salt Lake City, Ogden, and Sundance, Utah. The complete list of films is available at www.sundance.org/festival. "This year's films are not narrowly defined. Instead we have a blurring of genres, a crossing of boundaries: geographic, generational, socio-economic and the like," said Geoffrey Gilmore, Director, Sundance Film Festival. "The result is both an exhilarating and emotive Festival in which traditional mythologies are suspended, discoveries are made, and creative storytelling is embraced." "Audiences may be surprised by how much emotion this year's films evoke," said John Cooper, Director of Programming, Sundance Film Festival. "We are seeing the next evolution of the independent film movement where films focus on storytelling with a sense of connection and purpose." For the 2009 Sundance Film Festival, 118 feature-length films were selected including 88 world premieres, 18 North American premieres, and 4 U.S. premieres representing 21 countries with 42 first-time filmmakers, including 28 in competition.
    [Show full text]
  • Sin Nombre, Babel, and the Conflicts in Contact Zones
    DOI: http://dx.doi.org/10.5007/ 2175-8026.2021.e75723 SIN NOMBRE, BABEL, AND THE CONFLICTS IN CONTACT ZONES George Alexandre Ayres de Menezes Mousinho1* 1Universidade Federal de Santa Catarina, Florianópolis, SC, Brasil Abstract Contact zones can be understood as spaces where cultures meet and establish relations of power based on historical processes of domination and inequality. In such spaces and under such circumstances, power dynamics are sometimes resulted from the act of geographic dislocation, executed either by the individual from a central culture who is seen as the tourist or expatriate, or by the subaltern subject who travels to an imperialist nation in search of better prospects, who is seen as the – sometimes illegal – immigrant. The objective of this article is to examine Sin Nombre (2009) and Babel (2006), two films that bring representations of both instances of transit and the inequity of power, through the lens of the postcolonial concept of contact zones. Keywords: Immigration; contact zones; postcolonialism; Babel; Sin Nombre * Professor at the Departamento de Língua e Literatura Estrangeiras from Universidade Federal de Santa Catarina. His current research involves the study of eschatological and post-apocalyptic literary and audiovisual narratives in science fiction. Academic interests include film theory, science fiction, adaptation studies, Gothic fiction, cultural studies, among other fields. E-mail: [email protected]. ORCID: https://orcid. org/0000-0001-6947-6451. Esta obra tem licença Creative Commons 694 George Alexandre Ayres de Menezes Mousinho, Sin nombre, Babel, and the conflicts... Introduction Narratives that reimagine travelling and migration often portray and/or focus on cultural and linguistic conflicts, relations of power and underlying subjugation, as well as issues of individual or collective restriction or violence.
    [Show full text]
  • ECON 3248 Class Calendar Sin Nombre Trailer
    ECON 3248 Class Calendar Sin Nombre Trailer https://youtu.be/VCaXj-17dgw Sin Nombre Review in San Francisco Chronicle 2009 Drama. Starring Edgar Flores, Paulina Gaitan, Tenoch Huerta Mejia and Kristyan Ferrer. Directed by Cary Fukunaga. In Spanish w/ English subtitles. (R. 96 min.) The highest calling of movies is to show audiences - to show you - a world you never thought of, a way of thinking and a way of life you never imagined, and then, having shown it, to make you understand it in the common language of human emotion. This is what writer-director Cary Fukunaga accomplishes in "Sin Nombre." Take his presentation of Lil Mago (Tenoch Huerta Mejia), the leader of a street gang in southern Mexico. His face is covered in menacing black tattoos. He looks like a monster, and he is - as erratic and as sadistic as a psychotic Roman emperor. Even when doing good is 10 times easier than doing evil, he summons the effort to do evil, just out of principle. Yet, while in no way softening the character, Fukunaga gives us enough information so that Mago is no cartoon. We understand the psychological underpinnings of the character, just as we understand why gang life could be perceived by his men - wrongly, insanely - as a ticket to autonomy and self-respect. Willy (Edgar Flores) is a teenager in Mago's gang. Gradually, Willy goes from being a recruiter for the gang - he brings in a little boy (Kristyan Ferrer) with a talent for larceny - to realizing that gang life is far from a liberation, that it is, in fact, the enemy of every good thing worth having.
    [Show full text]
  • Sin Nombre 4.Qxd
    Sin Nombre Den publik- och kritikerrosade filmen, om en ung Mara Salvatrucha, även känt som MS13. migrant och en dödsmärkt gängmedlem på väg genom Willy, "El Casper", är en av MS13-medlemmarna. Han Mexiko, skildrar flera av den amerikanska kontinentens är kär och har i hemlighet skaffat sig en flickvän, Martha största problem. Deras vägar korsas på ett godståg Marlene, som han skyddar från gänget genom att förneka norrut. Hon på väg från Honduras där klyftorna och fat- hennes existens. När ledaren, Lil' Mago, ändå blir varse tigdomen inte ger många alternativ. Han är på väg bort förhållandet händer det som El Casper fruktat; Lil' Mago från ett hopplöst förflutet, från minnen, svek och ett redan förlorat liv. manifesterar sin makt genom att ge sig på flickvännen. Resan de företar är en resa i flera bemärkelser. En Med avsikten att våldta Martha råkar Lil' Mago ha ihjäl verklighet för tusentals människor. Varje dag. henne, vilket han med en axelryckning kommenterar till en förtvivlad El Casper; "du hittar en ny". För att skingra hans tankar tar Lil' Mago med sig El Casper och en nyiniti- Rekommenderad för gymnasiet erad gängmedlem, 12-årige "El Smiley", till La Bombilla, området vid tågstationen. Där hoppar de på ett av de ful- EN FILMHANDLEDNING AV lastade tågen för att råna och förgripa sig på migranterna. ELSA COJNBY På tågets tak närmar sig Lil' Mago den ihopkrupna Sayra med ett hotfullt leende. När Casper ser vad som hål- ler på att hända gör han det otänkbara; han höjer mache- ten mot sin egen ledare och dödar honom för att försvara Handling den okända migranten.
    [Show full text]
  • Download Do Trabalho
    20º Congresso Brasileiro de Sociologia 12 a 17 de julho de 2021 UFPA – Belém, PA CP05 - Sociologia e Imagem Violência, mídia e o trágico: uma análise sobre a representação das maras centro- americanas na película "Sin Nombre" Fatima Sabrina da Rosa (Independente) Introdução Esta comunicação trata de apresentar um recorte da pesquisa de doutorado “Los Homies ilustrados: Violência, Mídia e Pós-colonialidade no Cenário das Mara Centro-americanas”. As maras são agrupamentos juvenis envolvidos com a violência, cuja atuação transnacional tem lugar, sobretudo nos países do chamado Triângulo Norte Centro-Americano (TNCA), com atuação também no México e no Sul dos EUA. O TNCA é composto por El Salvador, Guatemala e Honduras, três países com um histórico de violência, terrorismo de Estado e guerras civis que ocasionaram uma série de fluxos migratórios, principalmente de salvadorenhos, para os Estados Unidos, na segunda metade do século XX. As maras formam-se, portanto, do contingente de jovens que, uma vez estabelecidos nas periferias das cidades da Califórnia, necessitaram criar uma sociabilidade para proteger-se das gangues pré-existentes, essas também de corte étnico. Assim surge a Barrio Dieciocho e sua rival, a Mara Salvatrucha. A partir dos anos 1990, deportações massivas dos Estados Unidos põem alguns desses jovens em contato com sociabilidades delitivas formadas em seus países de origem, nos bairros mais pauperizados. Pela influência dos deportados, essas sociabilidades integram-se a uma ou outra das “confederações”, transformando-se em clicas, que são uma espécie de filial de operação local que gerencia, em cada bairro, as atividades ilícitas, como roubos, extorsões e assaltos.
    [Show full text]
  • Latinidad in Enstranged Lands: Narrative Interjections in Chicanx and Latinx Literature, Film, and Television
    LATINIDAD IN ENSTRANGED LANDS: NARRATIVE INTERJECTIONS IN CHICANX AND LATINX LITERATURE, FILM, AND TELEVISION By Samuel Saldívar III A DISSERTATION Submitted to Michigan State University in partial fulfillments of the requirements for the degree of Chicano/Latino Studies-Doctor of Philosophy English-Doctor of Philosophy 2016 ABSTRACT LATINIDAD IN ENSTRANGED LANDS: NARRATIVE INTERJECTIONS IN CHICANX AND LATINX LITERATURE, FILM, AND TELEVISION By Samuel Saldivar III In the closing lines of the 2000 work Shot in America: Television, the State, and the Rise of Chicano Cinema author Chon Noriega asks his readers, “how do you participate in this world of knowledge and power as something other than a viewer?” (201). Quite honestly, Noriega’s question is one of many that has driven the direction and purpose of my research and scholarship at large. My dissertation, Latinidad in Enstranged Lands: Narrative Interjections in Chicanx and Latinx Literature, Film, and Television has sought to reflect, via narrative, my participations with and complications of knowledge and power within a dominant Anglo American U.S. Consequently, my dissertation has placed a primary emphasis on the constructions, presentations, and representations of Chicanx and Latinx fictional works of narrative that while including fictional works of literature like Corky Gonzales’s Yo Soy Joaquin have also incorporated often identified “alternative” works like comics and graphic novels that also explore the issues of knowledge and power in relation to Chicanxs and Latinxs in the Americas. What I have kept at the center of my analysis, however, has been Chicanxs and Latinxs. Along with Noriega’s question of participation and action as they relate to these particular populations a secondary but equally significant question that asks “what’s new in Chicano/Latino Studies?” or “What has been made new in Chicano/Latino Studies?” has driven my directional explorations of the various narrative forms I have incorporated into my dissertation.
    [Show full text]
  • Gleanings 2014-2015
    GLEANINGS A Journal of FirstFirst----YearYear Student Writing 20142014----20152015 Arst: Mackenzie L. Cox ’18 SIENA COLLEGE All of the work included in this journal was written by students who were enrolled in Siena’s First Year Seminar in 2014 - 2015. This required course prepares Gleanings: A Journal of First-Year Student Writing Siena College students for the intellectual Volume 5 rigors of college life and beyond 2014 - 2015 by building critical thinking and communication skills as well as by fostering creativity and advocacy. Throughout this two- E D I T O R I A L B O A R D: semester seminar, students are Editors – Britt Haas and Michelle Liptak encouraged to reflect upon and discuss the vast amounts of read- Editorial Committee – Susan Barranca, Britt Haas, Michelle Liptak and Elizabeth Redkey ing and writing that they do both inside and outside the classroom. Siena College is committed to showcasing the intellectual and engaging work being accomplished on its campus, so Correspondence and requests for copies may be Gleanings was created as a means sent to: of celebrating some of the finest Dr. Meg Woolbright and most provocative first-year Director of First Year Seminar student writing completed each Siena College 515 Loudon Road year. Loudonville, NY 12211 * * * * * * [email protected] While editorial changes have been made to these works-in- progress, they were kept to a minimum in order to preserve the authentic voices of the student authors as well as the integrity of the assignments. Table of Contents 1 Women and War - Caroline L. Bablin 3 Don’t Stop the Music - Sara K.
    [Show full text]
  • Bienvenida | Welcome
    2 FESTIVAL INTERNACIONAL DE CINE DE MÉRIDA Y YUCATÁN BIENVENIDA | WELCOME Amigos, por tercer año consecutivo festejaremos la Dear friends, for the third consecutive year, we will tercera edición del Festival Internacional de Cine de celebrate a new edition of the Festival Internacional Mérida y Yucatán, FICMY, del 18 al 24 de agosto de de Cine de Merida Yucatán, FICMY, from August 18th 2017. to August 24th 2017. El Festival, presentará un panorama del cine mundial The Festival will show a panorama of Mexican and y mexicano reciente en competencia, homenajes, re- world current films that are in competition, tributes, trospectivas, talleres de formación cinematográfica, retrospectives, film training workshops, rallies and rallys y plataformas de producción de proyectos que project-making platforms that takes the form of the se concretan en el festival, así como una plataforma festival, as well as a film-projection platform whose de proyección de películas con temáticas cuyo obje- goal is to rescue, preserve, reinforce, promote and dis- tivo es rescatar, preservar, fortalecer, promover y di- seminate values, principles, native languages, artis- fundir los valores, principios, idiomas originarios, las tic expressions, goods, costumes, traditions and the expresiones artísticas, los bienes, tradiciones y cos- wide cultural diversity of the people who come from tumbres, y la gran diversidad cultural de los pueblos all around the world. As part of our social contribution del mundo, como parte de nuestra aportación social a by means of the cinema; the FICMY is an opportunity través del cine; el FICMY es una oportunidad para to- for the audience to receive and share the best of the dos los asistentes de este evento para recibir y com- Seventh art.
    [Show full text]