It is said that the Princess returned to her father’s kingdom. That she reigned there with justice and a kind heart for many centuries. That she was loved by her people. And that she left behind small traces of her time on Earth, visible only to those who know where to look.
Working in Hollywood, Fernandez befriended Mexican actress Dolores del Rio, then wife of studio Metro-Goldwyn-Mayer’s art director and Academy of Motion Pictures Arts and Sciences member Cedric Gibbons. Del Rio introduced Fernandez to Gibbons, who was in charge of supervising the statuette’s design.
Gibbons asked Fernandez to pose in the buff for a sketch to create the basis for the 8.5-pound trophy. Reluctantly, Fernandez did, and the design became the foundation for artist George Stanley’s famous sculpture of the statuette, given out at the very first Academy Awards in L.A. in 1929.
That design remains to this day.
The irony of it all is that only two Mexican actors have ever been nominated for an Oscar. This year’s best actor nominee Demián Bichir is the second Mexican (male) actor to be nominated in the 84-year history of the Oscars.
Across all categories only 11 out of 2,809 Oscar trophies have been awarded to Mexicans— and they’re mostly behind the scene awards.
“We are used to knowing exactly what’s going on when we are watching something, which is very strange because in life it is precisely the opposite. Most of the time in life we are living through things and don’t know what they mean at the time, except at a very superficial level. It is only later they become important, or take on a particular relevance.”
To the lovely themexicansnob, who’s tired of contemporary mexican films being all about narcos, the government and how shitty our country is.
I agree it’s frustrating that these kinds of productions (which a lot of the time aren’t good) are the ones that usually get wide releases in Mexico and get picked up by international distributors, mostly because of the public’s morbid fascination with violence and constructions about the ～exotic and dangerous～ “third world”.
With that in mind, I’ve made a list of a few films I like that may not be exactly heart-warming or uplifting but that reflect the human experience through different narratives and styles, avoiding the extremes of the mexican preciousism movement and the current crudeness in national cinema.
La fórmula secreta (1965), Rubén Gámez
Poetas campesinos (1980), Nicolás Echevarría
El premio (2011), Paula Markovitch
La mancha de sangre (1937), Adolfo Best Maugard
Nazarín (1958), Luis Buñuel
Pedro Páramo (1967), Carlos Velo
Mezcal (2006), Ignacio Ortiz
Bartolomé de las Casas (1992), Sergio Olhovich
Macario (1960), Roberto Gavaldón
El lugar sin límites (1978), Arturo Ripstein
Danzón (1991), María Novaro
En la palma de tu mano (1950), Roberto Gavaldón
Dos monjes (1934), Juan Bustillo Oro
Stellet licht (2007), Carlos Reygadas
Cada loco con su tema (1939), Juan Bustillo Oro
Santa Sangre (1989), Alejandro Jodorowsky
La mujer de Benjamín (1991), Carlos Carrera
Cronos (1993), Guillermo del Toro
La perla (1947), Emilio Fernández
Cuentos de hadas para dormir cocodrilos (2002), Ignacio Ortiz
Fecha de caducidad (2011), Kenya Márquez
Cabeza de Vaca (1991), Nicolás Echevarría
El hombre sin rostro (1950), Juan Bustillo Oro
Canoa (1976), Felipe Cazals
Redondo (1986) Raúl Busteros
Post Tenebras Lux (2012), Carlos Reygadas
Alamar (2009), Pedro González-Rubio
El fantasma del convento (1934), Fernando de Fuentes