Wednesday, 17 April 2024
WorldCinema, one of the great creative industries of Jalisco

Cinema, one of the great creative industries of Jalisco

Jalisco is an epicenter of national cinema in the world. Its creatives, productions, stimuli and specialized technicians have made the industry more alive than ever. One of its strongest cards is the International Film Festival in Guadalajara (FICG) which last June celebrated its 38th edition and is now heading to celebrate its first four decades. For now, next year from June 7 to 15, the 39th edition will be launched.

About, THE REPORTER talks with Rodolfo Castillo-Morales, one of the programming directors of the FICG, focused on documentary film, who explains how the festival has been an important piece of the film movement in the metropolis since 1986 as a Mexican Film Festival and then in 2005 consolidated as FICG; In addition, he expresses his perspective on how the industry has been expanding locally and what challenges and transformations are underway.

It starts, for example, from the beginning of the golden years of cinema: “It is a fact that in the 1940s, when the national reidentification movement began, the government’s idea was to find an icon with which Mexico could relate, in a simple way, just as Spain did with the Sevillians. And the figure that is taken is that of the charro, common in the shoals and particularly in Jalisco. So although the evolution of cinema does not necessarily begin there, the reconfiguration of the national idea that starts from a set of others such as mariachi does begin. says the specialist, who notes as a curious fact that in that decade the use of trumpets was added to the mariachi alienations.

“After the Golden Age, Mexico in general suffers a big problem with cinema. And when the Mexican Film Festival was founded (1986), one of the ideas was not only to show cinema, but also to try to encourage the people who made it in Jalisco. And at that time it was complicated. Jaime Humberto Hermosillo, who was from Aguascalientes, but had a very Guadalajara identity, was one of those pioneers. And at the beginning of the 90s this historic change began to occur in terms of the relationship between the Mexican Film Festival and the cinematographic work of the creators.”

Remember Rodolfo, who The issue of centralization has always been a challenge at the national level for filmmakers outside of Mexico City, “because a good part of the big industry happened there,” but it is also true that this has been changing little by little and now Jalisco has become an important location for local, national and international productions; In fact, the 65th edition of the Ariel Awards recently took place, held for the first time in Guadalajara and will return next year.

“Evidently there are many factors that cause the industry to begin to change, but it is also true that it is a very young and contemporary industry,” he concludes.

Rigo Mora. Pioneer in animation in Jalisco and promoter of talents. THE INFORMATOR/Archive

The weight of the University of Guadalajara

Rodolfo Castillo highlights that the University of Guadalajara (UdeG) has had directly to do with the development of the film industry in the State, with academic projects such as the Department of Image and Sounds (DIS) of the UdeG: “Raúl Padilla was involved there and from there have come the filmmakers who are in this new era giving light to Guadalajara cinema, not only from fiction, but also from animation and documentary”; points out, for example, the success of the “Interior Territories” project, an academic documentary training program produced by the DIS.

“There is a reality and that is that In modern times, since 1985 or 1986 until now, it is inexorably connected with the University of Guadalajara. Sure, there are many independent filmmakers, but in some way they all had or in some way came across the idea of ​​creating an exhibition in which there would be spaces to first see films, but also to project the films that were made here.

Of these relevant figures who have also promoted the Jalisco industry are Rigo Mora and Guillermo del Toro: “They were another generation of young people who were beginning to integrate into other languages, they were no longer looking for this very Mexican melodrama like Jaime Humberto did, but they did navigate it in fantasy. And in order to be a good filmmaker, one has to be a better cinephile, that is one of the important bases of how audiovisual education and training of creatives is created, and they had that banner, of showing films, opening spaces and eventually in those places, show the films that they were producing.”

Rodolfo adds that he also There is another element that changed the film industry a lot, and this was the democratization of the media. “That is, digital cameras and mounting systems allow the more technology advances, the more the spectrum of creators that are generated expands.” Likewise, he points out that another important moment to perpetuate this has been the rise of digital platforms.

“This State and particularly this city, are going to begin to have much more strength as the years go by, because there are more platforms, there is more opportunity for our work to be exhibited and at the same time there is a growing idea of ​​the locality and of work in together, something that Jaime Humberto and Guillermo del Toro did when they founded the Mexican Film Festival, because working in community is the only way in which we can somehow overcome economic and funding problems, looking for a way to become cooperative.

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Delivery of the Ariel. The ceremony that took place at the Perla Tapatia turned our city into the capital of national cinema for a few hours. In the photo, the director Alejandro González Iñárritu with his award. THE INFORMATOR. Navarrese

The place of the State at the national level

Rodolfo Castillo-Morales reflects that although this government administration has tried to open and expand access to funds, “it is a reality that we are still far from access to the way in which you can have a film with the necessary means to have it. the quality that is required.”

But he also says that in terms of training creatives, there are more opportunities in Jalisco, precisely because academic options have little by little been decentralized from Mexico City, “but it is also true that we continue to lack support from the local side to that the great filmmakers here”, for example, Lorena Padilla, Samuel Kishi and César Aréchiga, among others, have better opportunities, because, “we need to improve the way in which funds are accessed and we need to improve and promote training, But there are young people who are doing very interesting things from short films and animation; In addition, others are creating media, social networks and music videos, and all that pays off, because cinema encompasses a whole series of languages ​​and I believe that little by little the identity of Jalisco cinema will improve.”

Also, he considers that as an industry, there is a lack of self-criticism and reflection on all those involved and where they stand so as not to make the same mistakes: “Jalisco, musically, artistically and cinematically, is one of the most vibrant states in our country. And I think that with more incentives you will be able to have many more (creative) representatives of higher quality. Now let’s say, there are a handful that are doing very well, but this can grow three or four times more in the future.

Finally, with respect to the narratives and themes that are touched on in Jalisco cinema, Rodolfo says that there is also an interesting transformation. “The filmmakers realized that they had to move away from customs. And since the beginning of this new generation, speaking for example of Guillermo del Toro, he left that place, as well as Luis Téllez, René Castillo and that whole gang of animators who began to generate other types of universes. And later, documentary and fiction cinema also became much more contemporary in its themes, so there is no customs of talking only about the charros and the towns; Now, the films address topics such as loneliness, migration, family and that place of accompaniment such as friendship,” gives examples of “Los Lobos” by Samuel Kishi and “Los Años Azules” by Sofía Gómez Córdova: “Yes, there are a concern for touching on different topics and from different points of view that have to do with scriptwriters and the search for stories.”

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