Gueros

This starts with the story of Tomas who is sent to stay with his older brother in Mexico City after a water filled balloon incident goes awry. On arrival he finds his bro, Sombra living with his friend Santos in a flat where they steal electricity from a neighbour and are on strike from being on strike at the local University.

Essentially what follows are scenes that are linked together by dint of the fact they are linked together. The subtle stories and plots are full of satire and swipes at society but without ever unpacking what that means. It is filmed in black and white in a narrow ratio aspect so at once looks out of place in line with the characters themselves. It is also art house but without trying to be – there is even a breaking of the fourth wall in places – which took me by surprise and that is what this film is about – surprising you by the ordinary. Part love story, part coming of age, part road trip and part search for a lost rock genius, this is a film that refuses to be type cast and is better for it.

The actors all play this straight in that it just looks unrehearsed and they are adlibbing but you know that is far from the truth. This will not be to everybody's taste – if you like a start a middle and an end then probably best to avoid this but if you like to see things differently and are prepared for a journey that is as aimless as it is vital then you are probably going to really enjoy this really charming Mexican film.

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.

The story here is as clever as it is simple. Two brothers and a friend hit the road in search of a dying Mexican folk singer who, according to legend, once made Bob Dylan cry with one of his touching ballads. While there are numerous side stories and plenty of character development, the plot doesn't get a whole lot deeper than that, and it is all the better for it. In that sense, the filmmakers knew exactly what they were doing and they achieved it wonderfully.

The film has a few flaws, but overall I thought it was pretty good. It could have been shorter, but the pacing is great. I felt like a few of the scenes were added just to ensure a sufficient running time and they could have been cut. One thing I loved about the film was that we never actually hear the music of the fictional Mexican folk singer that the brothers are following. Their car's cassette player is broken so they only ever listen to him via headphones. We are left to watch their silent reactions and fill in the missing pieces for ourselves. I'm not sure if the filmmakers had intended to possibly insert music during post production and then decided against it, but either way it is very effective and well done.

Without giving anything away, the ending of the film is right in line with the rest of the film's pacing. It is slow and anticlimactic, but we still end up feeling like everything turned out just the way it should, much like the characters are left feeling. And it is totally hilarious, but in such a dry way that you just might miss it.

Despite being a road film in essence, with characters traveling around and getting into adventures, Güeros isn't about story or characters so much as it is about a feeling. It's a feeling that most of us likely experience at some point in our lives, and for that reason most people will be able to relate to this film on some level.

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.

Set in 1999 against a backdrop of student protests, Güeros is a road movie that becomes a voyage of discovery for three rootless young people seeking to bridge the gap between aimlessness and social purpose. The debut feature film by Mexican director Alonso Ruizpalacios received twelve nominations at the 57th Ariel Awards, the Mexican equivalent of the Oscars, winning five of them including Best Film, Best Director, Best First Film, Best Sound, and Best Cinematography (Damian Garcia). Shot in black-and-white, the film is evocative of the French New Wave, balancing highly structured sequences with segments of spontaneous and playful improvisation.

In the film, Tomas (Sebastian Aguirre), a disruptive pre-teen in Veracruz is sent by his overburdened mom to Mexico City to live with his brother Federico (Tenoch Huerta), a slacker college student known as Sombra because of his dark skin. Tomas is called a "güeros" because of his lighter complexion underscoring an element of racial conflict in Mexican society. Living with his similarly uninvolved roommate, Santos (Leonardo Ortizgris) in an apartment complex in Copilco that looks as if it's next on the waiting list for demolition, Sombra's position on the student strike is firmly in the middle, saying that he is "on strike against the strike." His daily activity consists of …well, nothing much. He and Santos sit around watching TV by borrowing an electrical cord from a little girl downstairs, an action that does not sit too well with the girl's father.

Bored, Tomas decides that a little adventure never hurt anyone and comes up with a plan to find Epigmiento Cruz in order to have him sign their well-worn cassette tape. An enigmatic folk singer from the sixties who their father loved, Cruz is a symbol of something bigger than them,a larger than life hero who can make them see what's behind things. As Sombra says, "If you can see behind things, the only thing they can't take away from you is that feeling."

Though the singer is rumored to be sick or dying, little güerito tells Fede that Cruz "once made Bob Dylan cry," presumably an accomplishment worthy of a place in the hall of fame. The trip, according to Ruizpalacios, was inspired by Bob Dylan's journey to visit an ailing Woody Guthrie in the hospital during the late 50s. Shrugging off a panic attack which is carefully explained to him at the hospital, Sombra visits the Universidad Nacional Autónoma de México (UNAM) where students are on strike to show their disagreement with the administration's decision to instate an enrollment fee even though the University had always been free.

Sombra, Santos, and Tomas walk into an auditorium overflowing with protesters listening to Sombra's former girlfriend Ana (Ilse Salas) speaking in front of the room. The scene is filled with shouting and confrontation, a chaotic depiction not to the liking of some former protesters who complained about the unserious tone of the segment. As Ana joins the trio to look for Cruz, their quest leads them to a pool party where well-to-do intellectuals muse about the sorry state of Mexican cinema.

Here the film engages in a sort of self-parody as one director complains that all Mexican movies deliver a picture of impoverished beggars to satisfy Western audiences at film festivals. Sombra also chimes in, saying that Mexicans are often portrayed as cheaters, atheists, prostitutes and alcoholics. Güeros ultimately takes many detours and shifts of perspective but, though it is episodic in structure, never loses its footing as the search for the legendary Epigmiento allows the seekers to move from a place of apathy to one of self-acceptance and commitment.

Ruizpalacios describes the film's central theme as "the change from being static to being in movement. Healing through movement." However you interpret Güeros' message, the film has an invigorating appeal: fresh, playful, and meaningful, even suggesting at one point that the seeming randomness of life is guided by divine purpose. Sombra says at one point that "If the world is a train station and the people are the passengers, those who stay at the station and watch the trains go by are the poets, the ones who come and won't go." Tomas is one who watches the trains depart, seeing as we all have once with the innocent eyes of discovery as the city unfolds before his eyes with all its massive contradictions, encompassing the best and worst of humanity.