Plot[ edit ] The film uses an omniscient narrator to provide information on the characters and their personal lives, historical Mexican events, and the settings depicted in the film. These "footnotes" also address economic and political issues in Mexico, particularly the impoverished lifestyle of people living in rural areas of the country. The film opens with a scene of each boy having sex with his girlfriend one last time before the girls leave on a trip to Italy.
Share via Email The Simpsons are currently in dire trouble with the Brazilian government for an episode in which they go to Rio and the children get taught how to do a lascivious dance called the Penetrada. This movie is set in Mexico, not Brazil, but the irresistible rhythm of the Penetrada throbs all the way through it nonetheless.
Young, dumb and full of come, they take a road trip to a distant beach with a glamorous but troubled older woman, Luisa Maribel Verduand get an education at her hands that is anything but sentimental.
From the first frames, it reveals itself as an outrageously, uproariously sexed-up piece of work, stylishly directed by Alfonso Cuaron from a script by his brother Carlos.
The camera, in one of many unobtrusively long takes, noses into the bedroom of Tenoch who is shagging his girlfriend Ana with all-nude, slack-jawed, buttock-pounding fervour. The two girlfriends go off on a summer holiday trip to Italy, leaving our heroes with no outlet for their permanent hormonal uproar, other than to lie on the diving boards of a local swimming pool, their wrists a blur, wanking themselves into a frenzy of boredom and frustration.
Like sex, masturbation is treated with an unapologetic frankness rarely found in our genteel anglophone cinema.
Every so often, he cuts out the soundtrack, emphatically, almost crudely, and has a voiceover point out some grim point of interest along the roadside: The voiceover provides an extraordinary dose of severity, combining social analysis, political insight and an unflinching glimpse into the secret lives of these apparently ingenuous young boys.
All the time, the death theme continues underneath. After quite a bit of weed, Luisa tells her two companions about her first sexual experience; then she tells them the boy died, at the age of Later on, Luisa, her face clouded with obscure melancholy, tries to teach a little girl to float in the sea "like a real dead body".
And what is it that Julio wants to listen to on the car radio? Luna and Bernal give nicely spontaneous, natural performances, the kind that Cuaron has apparently been able to elicit just by placing the camera in front of them and letting them riff, while cinematographer Emmanuel Lubezki, who shot Ali and Sleepy Hollow, provides him with fluent, loose, daringly protracted steadicam shots.
Lubezki and Cuaron find riveting images and cameos, perhaps genuine discoveries from their location work on the road: As Luisa, Verdu is sexy, tender and poignant. At this point, when I saw this film first at Venice, an elderly Italian in front of me sighed with eloquent resignation: This film is an exhilarating adventure in narrative, eroticism and social commentary.
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Y Tu Mama Tambien Questions and Answers. The Question and Answer section for Y Tu Mama Tambien is a great resource to ask questions, find answers, and discuss the novel.. Ask Your Own Question. y tu mama tambien Essays: Over , y tu mama tambien Essays, y tu mama tambien Term Papers, y tu mama tambien Research Paper, Book Reports.
ESSAYS, term and research papers available for UNLIMITED access. Gael García Bernal and Diego Luna on Y tu mamá también Actors Gael García Bernal and Diego Luna sat down to talk to Criterion about their experiences making Y tu mamá también with director Alfonso Cuarón for our release of the film.
Y Tu Mamá También is a Mexican drama film directed by Alfonso Cuarón and co-written by Cuarón and his brother Carlos.
The film tells a coming-of-age sto. In the film Y Tu Mama Tambien, the characters Tenoch, Julio and Luisa represent Mexican economic classes and social stratification in distinct ways. A Marxist would argue that Tenoch, the more affluent male lead of the trio, represents a bourgeois.