![]() ![]() Says Del Toro, calling from Los Angeles, “He was incredibly kind to me when he didn’t need to be.” Roma is but the latest example of Cuarón’s ambition to experiment with cinema’s sights and sounds, a drive so compulsive that it sparked a lively debate over whether viewers should avoid simply streaming the movie at home and instead head to the theaters, where its director’s full powers are better on display.Hollywood’s wholehearted embrace of Mexico’s Alfonso Cuarón, Alejandro González Iñárritu and Guillermo del Toro has earned them enviable influential standing, five best directing Oscars in the last 10 years alone and a nickname - the Three Amigos.īefore getting there, however, who showed them the way? The hyper-successful trio has always acknowledged one particular living cinematic forebear with gratitude and admiration: an “imposing, mythical director,” Cuarón tells The Times, a “soldier of Mexican cinema,” per González Iñárritu. The Revenant, a gorgeous and violent epic with a grueling production history that almost drove Iñárritu and his actors to the brink of insanity, and The Shape of Water, a product of del Toro’s vivid and colorful imagination, are also exceptional and spellbinding pieces of filmmaking. Iñárritu’s Birdman, for which he won the first of his two Oscars in directing, is an experiment in the art of the long take, with Lubezki’s eyes once again at the viewfinder. Under the hood of Gravity, for example, is an obsessive exercise in the geometry of filmmaking, engineered by Cuarón and Emmanuel Lubezki, his virtuoso cinematographer and another member of Mexico’s historic filmmaking generation. This inventiveness carried over when the directors finally had more resources at their disposal. “I believe that each of them, in his own peculiar way, understands risk as an essential part of success.” “The three of them left Mexico immediately in search of greater challenges,” he explained in an email. Actor Diego Luna, whose career Cuarón helped launch in the critically acclaimed Y Tu Mamá También, agrees. After those first movies, none of them looked back. Iñárritu, who had already revolutionized Mexican radio in the ’80s, would join the club in 2000, with the celebrated Amores Perros. Del Toro’s Cronos, a dizzying tale of alchemy and vampirism, followed a couple of years later. Cuarón’s Sólo con Tu Pareja, a playful urban comedy co-written with his brother, Carlos, became a smash hit. Both Cuarón and del Toro directed their first movies when they were around 30 years old. While others made fortunes repeating tear-jerking formulas, the three directors looked to the big screen. Send me updates about Slate special offers.Īt different moments in the early stages of their careers, Cuarón, Iñárritu, and del Toro worked in Mexican television, then a telenovela-producing juggernaut. No filmmaker-not even legendary directors like Federico Fellini and Ingmar Bergman, both multiple winners in the foreign language category-has managed such a feat. If Roma takes Best Picture-it has at least a strong shot-it will be the first foreign language film to take the Academy’s top honor. Cuarón himself is in the running for the impressive trifecta of director, screenwriter, and cinematographer (he will be in a club all his own if he wins all three). Her co-star Marina de Tavira also earned a nomination for Best Supporting Actress. She is the first indigenous woman to be nominated in the category. Yalitza Aparicio, the Oaxacan schoolteacher and acting novice who plays Cleo, a young Mixtec woman who finds heartbreak and solace while working for a middle-class family in Mexico City, has been nominated for Best Actress. Roma, Alfonso Cuarón’s intimate masterpiece, has been nominated for 10 Academy Awards, including Best Picture and Best Foreign Language Film. ![]() The Oscar Contender That’s Destined to Be a Sadsack Christmas Classic Podcast Episode The Curse Is Peak Cringe.Bradley Cooper’s Leonard Bernstein Movie Is No Ordinary Biopic ![]()
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