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This weekend a couple of Mexican productions from different periods and even genres that have in common the representation of indigenous peoples in national cinema coincide in streaming.

Chronologically, and closing with a flourish precisely the cycle entitled “The representation of native peoples in the cinema. Errors, abuses and clumsiness ”, tomorrow throughout the day for free through the page www.filmotecaunam.mx and for the space of 24 hours the classic directed by the Coahuila filmmaker Emilio“ Indio ”Fernández will be available, “María Candelaria” (1943), recognized with the equivalent of what later became the Palme d’Or as well as Best Photograph of the first edition of the 1946 Cannes Film Festival, which tells the story of María Candelaria ( Dolores del Río), a young indigenous woman from Xochimilco who in 1909 was rejected by her community for being the daughter of a prostitute.

The only person who wants to be with her is another young indigenous man, Lorenzo Rafael (Pedro Armendáriz), who seeks to formalize his relationship with her, but that support all he gets is that the townspeople turn against him more and even more. when María Candelaria agrees to be painted for a painting by a painter who, although replicating her face, the naked body that he adds is that of another model, but when the rumor spreads that the young woman posed nude gives rise to the tragedy in which the story.

Continuing with the native peoples and the tragedies, since last Wednesday the 9th, “Tragic jungle” can be seen on Netflix, directed by the Mexican filmmaker Yulene Olaizola, who on her own was one of the few Mexican films in competition in the last edition of Cannes International Film Festival where it won the award for Best Foreign Film of 2020.

Located in his case in the year 1920 on the border of our country and Belize when it was also known as British Honduras where an indigenous Mayan introduces us in the Mayan language to a story that as characterizes this civilization includes myths and supernatural elements in its ancestral culture, and immediately afterwards we witness the flight of a black woman named Agnes (Indira Rubie Andrewin) on the way to her wedding with an Englishman, entering the jungle of the title with the tragic consequences that it also includes.

Prior to “Selva Tragica”, Yulene Olaizola had already had a shared experience with her co-screenwriter Rubén Imaz in another film that on that occasion they co-directed together entitled “Epitafio” (2015), which focused on a Spanish protagonist in times of the conquest, and it seems that by focusing more on the adventure genre it was more effective than this, which is his most recent collaboration, that by merging between drama and mystery it ends up disappointing the viewer.

Of course, its workmanship is impeccable and more because of the exoticism of the environment than the story itself was that it captivated those who ended up rewarding it in Venice, remaining a lesser curiosity than Olaizola’s previous works, among which we can highlight from the aforementioned “Epitaphs” to her even more awarded and superior debut feature in the documentary genre “Intimidades de Shakespeare y Víctor Hugo” (2008), where the director was able to flawlessly merge genres from documentary to thriller.

Comments: [email protected]; Twitter: @AlfredoGalindo

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