The Ariel Awards elevated the film by Fire night in its 64th edition. The Oscars of Mexican cinema awarded this Tuesday night seven awards to the film directed and written by Tatiana Huezo. The film production tells the story of three friends who seek to survive in territory controlled by organized crime. The gala, held at the Antiguo Colegio de San Ildefonso in Mexico City, was also a plea to raise the voice against militarization in the streets and more budgets for the Mexican Academy of Cinematographic Arts and Sciences (AMACC).
Huezo’s film, based on the novel Ladydi by Jennifer Clement, conquered the Mexican Academy for its fierce portrayal of violence in which Ana and her friends grow up, a childhood entrenched between the threats of the narco who controls the poppy fields and the siege of the military. The female gaze of the protagonist is intertwined with the laughter of her friends, the scolding of her mother and the silence of all those women who, alone in those towns where men have emigrated, try to earn a living.
a police movie He won the awards for best director, best actor and best actress. The Academy surrendered to the police couple played by Raul Briones and Monica del Carmen in a documentary that combined fiction with documentary narrative. The director of this film, Alonso Ruizpalacios, also receiving the award for best documentary feature film, called for the non-militarization of Mexico. In total, this film won six statuettes.
The Black Minutes It won the main technical categories such as best costume or art design and the surprise was the best makeup category with a tie and two winners: Fire night Y The exorcism of Carmen Farias. In the category of best Ibero-American film, the winner was the Spanish The Good Pattern’ by Fernando Leon.
The award for best debut film went to mixtec knot by Angeles Cruz. The film’s director and screenwriter dedicated the award to her community. “We hope to have real screen time, that they do not always send us to the queue, I think there are great films that are always emerging, from community filmmakers and it seems that there is no space, that there is not enough billboard and also in the Academy that turns to see those filmmakers who are often not taken into account. So we hope that mixtec knot serve a little to open that path, ”he mentioned during his time on the Red Carpet.
With the aftermath of the pandemic still in the background and with a complex battle for more time in theaters against foreign films, Mexican cinematography, in the voice of the president of the Academy, Leticia Huajira, recognized the resilience of the guild and their plurality, although he admitted the difficult times they are going through: “Today the AMAC does not have the resources to be able to operate, we must pause, explore alternate paths to continue, we call for closing ranks. Long and bright life to Mexican cinema,” she said in an auditorium packed with friends and artists at the Antiguo Colegio de San Ildefonso.
This plea in favor of more support for Mexican cinema was seconded by actress Diana Bracho, who won the Ariel de Oro for more than 50 years of experience. The multi-award winning actress was blunt: “The lack of resources hurts. Without culture there is no country. Daughter of the producer and actor Julio Bracho, Diana Bracho, shared with the audience her origins in front of the camera until the present moment of her career: “It is proven that the cinema continues more alive, than ever”, settled the 77-year-old actress. The second Ariel de Oro went to sound engineer David Baksht.
To the rhythm of guitars and violins that played A weird world, performed by the singer Raul Sandoval, remembered the producers, directors and actors and actresses who died in the last year. One by one, images of film and television figures such as Anabel Gutierrez, Rosita Arenas, Meche Carreno, Vicente Fernandez, Raquel Pankowsky, Manuel Ojeda, Cristobal Jodorowsky, Susana Dosamantes, Octavio Ocana, among others, appeared on the screens. However, one of the biggest ovations went to Mexican director Jorge Fons, who died on September 22.
The vindication of the female gaze in the cinema and greater spaces for the dissemination of new stories were two of the pillars that marked the gala of the so-called Mexican Oscars.
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Source: EL PAIS
