Mexican gay movie

Gay characters have appeared in Mexican cinema since the s, but were not integrated until the ficheras of the s. After this genre of sexploitation comedy, Mexico produced films as part of the wave of Maricón cinema.

Dona Herlinda and Her Son () A no-budget Mexican curio from the s that feels like it couldn’t have been made at any other time, this comedy of bourgeois manners follows a pushy mother’s determination to ensure her son gives her a grandchild. Only thing is, he’s gay and shacked up with a besotted musical student in Guadalajara.

Films

Así es amigues, hay mucho cine LGBT+ mexicano. 1. Quebranto es un documental que cuenta la historia de Coral Bonelli, quien a sus pocos años de edad era un intérprete conocido como Pinolito. From Y tu mamá también to A Fantastic Woman, these are the best movies from Latin America with LGBTQ+ stories and characters. Family honor, greed, machismo, homophobia, and the dreams of whores collide in a Mexican town.

Rich, elderly Don Alejo is poised to sell the town for a profit, needing only to buy a whorehouse to own all the buildings and close the deal. Today, a growing number of films feature LGBT characters and themes, and major venues, mostly in the three big cities of Mexico City, Monterrey, and Guadalajara, freely exhibit them.

These films flicker in the darkness of theaters, but they are as powerful a force for activism as any march or protest movement. The character was seen as an example of bourgeois decadence, and de Fuentes, the greatest Mexican filmmaker of the 30s, unwittingly helped to fuel animosity toward gay and bisexual men.

For generations, Mexican audiences mocked the effete male fashion designer or hairdresser, the gossipy waiter at the cabaret, or the ridiculous transvestite who often pretends to be an older lady or assumes the role of a prostitute. The entire paradigm of LGBT was reduced to a vehicle for romantic and sexual misunderstandings in classic cinema, and homophobic double-entendres in sex comedies. If the s were the crescendo of homophobic misrepresentations in cinema, they also saw the birth of the first notable exceptions.

Another rara avis of that generation was the director Jaime Humberto Hermosillo, who made a number of groundbreaking movies under extraordinary constraints. That he achieved these milestones during an era when the Mexican film industry had been largely nationalized and under the control of institutional censors makes it that much more remarkable. Few filmmakers — in Mexico or elsewhere — can boast filmographies as fiercely independent as Hermosillo.

Indeed, gay and bi characters emerged as the bastard sons of state-backed cinema in the 70s and 80s, progressing through various stages of exploitation. The film was only ever screened a single time publicly and then hastily buried in university archives while the notoriety and infamy of its censorship and prohibition grew to legendary proportions.

None of these stories had a happy ending. Condemnation, ignominy, and death always loomed over those who were considered different, but these films were nevertheless part of the same generation that took to the streets to stage the first public gay, lesbian, and bi demonstrations and demand their rights. A young Jaime Humberto Hermosillo behind the scenes. As a gay man and a filmmaker myself, I began making movies inspired by this rich tradition of queer Mexican cinema, and the many cinematic craftsmen who embraced both masculinity and same-sex love.

Even in the early 90s, however, when I was making my first student films, cultural and institutional homophobia still greeted me at every turn. The urban homosexual young men I wanted to portray were completely absent from the official Mexican cinema world, so I made it my mission to depict them. The focus characters had to move away from their identity or orientation and focus instead on their burning search for affection.

The desire for physical, bodily love became for me not merely a cinematic motif, but a political crusade. During the many right-wing Mexican administrations in the early years of this century, queer filmmakers leaned into the cinema of sexual dissidence. The early days were tough. We were attempting cinematic approaches that strayed from conventional style. We were investigating, through the making of our films, the use of uninterrupted sequence shots, the fragmentation of bodies on screen, negative space, and so forth.

Published July 1, Slava Mogutin fled Russia to the US as a political refugee, but his true home is wherever artistic freedom thrives. Bruce LaBruce has been told his work is too ographic for the art world, and too artsy for the world. Amid the neon wash of urbanscapes thrumming with erotic energy, Tsai Ming-liang reveals the queerness beneath the surface of all things. View fullsize. Translated from Spanish by Chucho E.

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