22 · 10 · 16

Selección Oficial del 14º FICM: Minezota

Gabriel Andrade Espinosa (@gabolonio )

Minezota (2016) de Carlos Enderle, forma parte de la Sección Largometraje Mexicano en competencia del 14° FICM.

Minezota es el segundo largometraje del realizador Carlos Enderle. Anteriormente había dirigido el mediometraje Complicidades (2000) y su ópera prima Crónicas chilangas (2009). En esta última ya había probado el mismo formato de producción que utilizó para Minezota, que consiste en realizar el rodaje con sus propios recursos y después conseguir apoyo para la postproducción. Cabe mencionar que Minezota fue apoyado en 2015 para su postproducción por Impulso Morelia en el marco del 13° FICM. Enderle cuenta entre sus influencias a Quentin Tarantino, Steven Spielberg, Anton Corbijn y a Robert Rodríguez.

On the choice of Ciudad Neza as the setting for the story

"I wanted women to predominate in this film, to show empowerment where they make their own decisions. And Ciudad Neza was built by women. It was a bedroom community that was founded in the sixties. In fifty years it has grown too. That is precisely because men went out to work during the week and it was the women who were responsible for developing, drainage, electricity, everything. Basically, it is a city that owes itself to women's work."

On how it addresses the working class in today's cinema

"It is very important that we make movies that do not denigrate the working class, that are not offensive to people in general. Sometimes I think we like being sordid in Mexican cinema and I think that takes people far away from the theatres. I have heard people say 'I don’t want to see Mexican films because I get depressed. If I wanted that I’d watch the news'. So I did not want to make a depressing film. I wanted us to have moments of humor, romance, religion, etc.; but all with a tone that wasn’t sleazy. "

Guillermina Campuzano (actress) about how Mexican society is represented in today's cinema

"Part of the intention is to talk about the nuances of such a large population like ours. We have plenty of circumstances, social contexts and economic strata. You have to leave the monotony to show the everyday nature and fibers that move the working class. Make the film speak to us as citizens and human beings. "