Güeros

This film stands out among the majority of contemporary Mexican films, this film is very interpretive and it may be that you do not understand what it means at first, but analyzing it in depth you can see an effort to do something of quality. Although the main story is not very attractive, the situations that the characters go through become a message and a portrait of the reality of Mexico City. I don't want to go deeper because I think that everyone should have their point of view on what is portrayed in this film.

On the technical side, the performances are very good, the photography is good, the production design is good, the direction is very good, in general it is a different film from the rest, deep and realistic.

First of all, there is a simple question to ask yourself in order to find out if you're likely to enjoy this movie: have you seen and enjoyed films like P.T. Anderson's "Inherent Vice" and "Punch-Drunk Love"; or the Coens' "A Serious Man" and "Inside Llewyn Davis"; or even that other work in the oddly specific Mexican cinema genre of "Mexico City's disenchanted youth living in unidades habitacionales (low-income housing complexes, similar to the British council estates or the U.S. projects), going from action to action without much ambition, peppered with existential and black humor and shot in black and white" that is "Temporada de Patos" ("Duck Season")? If so, boy are you gonna love this one!

"Güeros"'s title referring to white people might make one think that this is a politically-charged deconstruction of racism and classism in Mexico, but much like the film makes a point of saying how difficult it is to define who IS a "güero" in Mexico, it also makes a point of saying how difficult it is to define pretty much ANYTHING in this culture. Politics and society unquestionably play a role in the film, but more as a backdrop (an inescapable one if you happen to live here) than as a main subject. Overall, the film is content in hopping from place to place and short mission to short mission, only offering glimpses of the reality it is set in, in order to make its grandest statement that is about, well... nothing.

Much like most of the films mentioned at the start, "Güeros" is existentialist at its core, the aimlessness and lack of a point IS the point. Unlike other pointless films however, "Güeros" is rarely boring. The chemistry between the main characters, the tiny mysteries woven into their world, the gorgeously simplistic imagery, the unexpected twists (including some weird meta references and even an instance of the fourth wall being broken) and, most of all, the amazingly witty dialogue ("Güeros" is FAR more, and more universally, funny than the vast majority of Mexican films that have the gall to call themselves "comedies") make the experience of watching this film more enjoyable and more likely to stay with you than most other films of its kind.

A hip coming of age road movie is the first feature from gifted Mexican writer- director Alonso Ruizpalacios. Shot in academy ratio and black and white and marked by a fresh use of camera, editing, sound, and humor and a breaking the fourth wall that owes something to the Nouvelle Vague, it focuses on Tomás, a slim, pale teenage bad boy ("güero" is Mexican slang for light-skinned) whose mother can't cope with him, so sends him from Veracruz to live in Mexico City for a while with his older brother "Sombra" ("dark-skinned"). Sombra is a student at the national university, but it's disrupted by a huge strike (loosely based on the 11-month strike of 1999), and he's "on strike from the strike," sitting idly in his trashy concrete apartment, a depressed slacker trying to teach himself card tricks. They get out, with his roommate and best friend Santos and girlfriend Ana (a strike leader), on a mission to find a cult Mexican rock idol of the Sixties called Epigmenio Cruz admired by their late father and both brothers, reportedly dying of cirrhosis of the liver, to pay him homage. It's said that Cruz once "made Bob Dylan cry." Ruizpalacios has acknowledged a debt to Truffaut, Godard, Wim Wenders, Jim Jarmusch, and Fellini, but his light touch, wit, and grasp of earthy Spanish vernacular (though he studied in London and speaks perfect English too) also link Güeros with Latin American youth films like Alex dos Santos' 2006 Glue, Che Sandoval's You Think You're the Prettiest, But You Are the Sluttiestt (2009), and the work of Fernando Eimbcke and Gerardo Naranjo. This won prizes at Berlin and Tribeca and had a limited US release May 2015 (see A.O. Scott's enthusiastic and detailed description in the NYTimes). Now out on DVD from Kino Larber. Watched on a DVD provided by Rodrigo Brandão (Indie Strategy) 2 Jan. 2015.

"Gueros," is a really fine artsy-farsty coming of age story. It's a quiet Spanish film with English subtitles about a troubled teenage boy in the Mexican countryside, sent to live with his slacker college age brother in Mexico City. The film takes place while the nearby urban university is occupied by student protesters, who often spill into the streets where their anger over economic issues meshes with the poverty of daily life. The older boy is politically apathetic, but his love interest is a leader of the protests, so the energy of the occupation looms large. Along the way the films four main characters travel through the city searching for an elusive almost-rock star whose music played an outsized role in the lives of the boys and their deceased father. The film captures the chaos on the streets as the young boy begins to see the world through new eyes, and as his older brother embraces the cultural upheaval.

"Gueros" is set squarely in Mexico, but it could as easily have been adapted to an American city, and structured around the Black Lives Matter protests. While it's uniquely a Mexican film, the portability of the story gives it wider appeal, and the characters feel like neighbors. It's a rich story told beautifully, and well shot on black and white film. If you are in the mood for a quiet coming of age film set in another culture, "Gueros" will make you smile.

This movie is black and white and it has a different frame ratio. At first, i thought they were going to do it because they wanted it to look like an art film but if you ask me, from what i watched, i am certain that this was done because of artistic and also satiric reasons. This movie is a great drama and also is a great comedy. Directing is really unique. Movie doesn't treat it's audience like they are stupid people. Movie respects the audience. For example, instead of a broken elevator sign, you see the inside of the elevator and you see that it doesn't come. When the character goes in a dark room, actor isn't pretending to be in a dark room, it is not a low lighted room that you can see but actor can't, you also can't see anything and it feels real. When a character closes other's eyes, before you see that, also your view is blocked by hands on the camera, which is your eyes. You feel like you are inside the film and it is amazingly done. When they listen to the song that should be amazing you hear nothing at all because they want you to imagine it since it will be different for everyone. And there is a scene in the school that it is really really funny and intelligently done. I won't spoil but i was laughing way too much at it. Movie tells a few different stories, panic attack, love, friendship, revolution and a whole other themes that are followed by their own scenes. Every thing in the movie leads somewhere and in every ending, it remind us that the world is cruel.Movie is funny, dramatic and exciting and overall it is very good. It makes fun of the Mexican so called art movies and also that maybe the cause of the black and white colour of the film. And it succeeds to be satiric in a good way. I am giving this 8/10 because i felt like it dragged a little on the last act. But, nonetheless i found it to be very intelligent.