“You’re doing a play based on a book that was written 60 years ago, for a thousand rich old white people whose only real concern is gonna be where they go to have their cake and coffee when it’s over. And let’s face it, Dad, it’s not for the sake of art. It’s because you want to feel relevant again. Well, there’s a whole world out there where people fight to be relevant every day. And you act like it doesn’t even exist! Things are happening in a place that you willfully ignore, a place that has already forgotten you. I mean, who are you? You hate bloggers. You make fun of Twitter. You don’t even have a Facebook page. You’re the one who doesn’t exist. You’re doing this because you’re scared to death, like the rest of us, that you don’t matter. And you know what? You’re right. You don’t. It’s not important. You’re not important. Get used to it.”
The first Mexican movie I remember seeing was Like Water For Chocolate, in my first-year film class. I still remember the sensuous portrayal of food, the magic realism, the feeling of danger with the Mexican Revolution, and the intense passion. However, it was one of many memorable movies I remember seeing that year: Battleship Potemkin, Blow-Up, Vivre Sa Vie, The Celluloid Closet, American Dream. Every week a new world opened up, and it was beautiful as well as overwhelming, a lot for my brain to process. By the time I saw Y Tu Mama Tambien, however, in theatres a year later in the summer of 2002, I was a bit more ready, able to appreciate the arts of watching for the mise-en-scene in the frame and understand a movie through its historical context and vice versa.