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Here the sexual intrigues which have been developing all along will find their conclusion. Beneath these two levels the coming-of-age journey, the two Mexicos is hidden a third.

I will say nothing about it, except to observe there are only two shots in the entire movie that reflect the inner reality of one of the characters.

At the end, finally knowing everything, you think back through the film--or, as I was able to do, see it again.

Alfonso Cuaron is Mexican but his second and third features were big-budget American films. I thought " Great Expectations " , with Ethan Hawke , Gwyneth Paltrow and Anne Bancroft , brought a freshness and visual excitement to the updated story.

I liked " A Little Princess " even more. It is clear Cuaron is a gifted director, and here he does his best work to date.

Why did he return to Mexico to make it? Because he has something to say about Mexico, obviously, and also because Jack Valenti and the MPAA have made it impossible for a movie like this to be produced in America.

It is a perfect illustration of the need for a workable adult rating: too mature, thoughtful and frank for the R, but not in any sense pornographic.

Why do serious film people not rise up in rage and tear down the rating system that infantilizes their work?

The key performance is by Maribel Verdu as Luisa. She is the engine that drives every scene she's in, as she teases, quizzes, analyzes and lectures the boys, as if impatient with the task of turning them into beings fit to associate with an adult woman.

In a sense she fills the standard role of the sexy older woman, so familiar from countless Hollywood comedies, but her character is so much more than that--wiser, sexier, more complex, happier, sadder.

It is true, as some critics have observed, that "Y Tu Mama" is one of those movies where "after that summer, nothing would ever be the same again.

Roger Ebert was the film critic of the Chicago Sun-Times from until his death in In , he won the Pulitzer Prize for distinguished criticism. Maribel Verdu as Luisa.

Gael Garcia as Julio. Diego Luna as Bernal Tenoch. The more wild nature gets, the more wild is their experience. But back in the civilization of the city, they cant go on with that.

The city represents their socialization and the society's rules which doesn't really allow the kiss of the boys. Its way beyond their comfort zone.

The beach is also a parallel to Tenoch. He wants to be a writer; free and on his own - but ends up studying economics. And the beach ends up as a touristy place - probably without its natural beauty.

I don't know if you agree with my attempt to interpret the movie on a deeper level; but to me, the picture works perfect on so many levels.

It's a very inspiring movie - dramatic and yet funny, offensive and yet subtle and witty. A Mexican masterpiece that's full of youth, ribald sex, politics, economics, and death.

Chris Knipp 24 July These frisky pups, so eager for sex, so incompetent and over-hasty when they get the chance, having such a wonderful time with the sexy Spanish lady with the impressive tits, are very real, but quite symbolic: the Mexican upper class and the lower middle class, inseparable and cautiously in love with each other, going to bed with Spain to acquire some sophistication; but wait!

Julio and Tenoch have no choice but to act out their social destinies separately, as history decrees. The action freezes during these voiceovers to emphasize the momentary nature of the story and to break the jaunty rhythm with the introduction of an awareness of politics, mortality, and history.

Sure, this movie is hilariously sexy and ebullient. But there's a whole lot going on here. But this isn't just spicy food: it's a brilliantly constructed movie that works on many levels.

Scene follows scene with imperceptible grace, never held too long, never cut short. The visual rhythm is perfectly sustained.

There aren't any wrong notes. The whole cast are constantly alive and right. Bernal and Luna just seem made to act in this film. In a road house the camera just wanders off and catches local people, an old lady stiffly dancing to a radio.

Mexico is constantly present without being commented upon the voiceover doesn't belabor the images but augments them; the boys drive by many police roadblocks, oblivious of the repression.

The landscapes are subtly beautiful, never conventional. There's so much going on that I couldn't think of writing about the movie till I'd seen it twice.

But none of the peripheral action and scenery that make the palate of the movie so rich ever distract from the story.

For me images that remain are a short tracking shot that goes over to the window of Luisa's flat and looks down to see her meet Julio and Tenoch and get into the car to go on their journey to the mythical beach; the country club pool, with its wide expanse, and the ranks of elegant modernistic lounge chairs behind a stream of water spraying the perfect lawn; the rich leathery tan of an old lady's face, momentarily glimpsed with a patch of red flower; a lovely shot in a bar, worthy of Cartier-Bresson, showing Luisa phoning her husband through a little window, while in an identical window we see reflected Julio and Tenoch playing a game of hand soccer; the pigs scattering across the beach at dusk and ruining the boys' encampment.

What a funny, sexy, sad, wonderful movie. Gael Garcia Bernal is destined for greatness. I was totally overwhelmed by the sexual tension between the characters.

It is also a subtle, yet brutal, comment on Latin culture as far as sex is concerned. The reaction of the two boys after realizing they have made love is purely Latin fear.

In another part of the world, that night of love could have been the new beginning of a wonderful friendship.

Humor can make the awful truth palatable especially when merely speaking on issues of political corruption, oppression of the meek, and outrageous standards of virility imposed upon Mexican youth--leaves a sour taste in one's mouth.

The two main male characters are ever so subtly portrayed as unwitting victims who have been sucked into the "machine" of National Idealism.

This idealism does not ring true with their personal quite imperfect human relational experience. The main female character, though unwittingly wise , is yet a victim nonetheless as she identifies with the poor with whom she finds solace.

I found the movie thoroughly delightful and laughed so hard that even the more revealing, erotic scenes by some considered soft porn only served to accentuate how deeply penetrating and pervasive"lies" of a society influence the young, restless, brave and idealistic even in their more intimate moments I highly recommend this to anyone who wishes to view a first class cinematic "event", which may well become a classic in Mexican filmmaking.

After watching this movie, I looked at what a few critics had to say about it and I was shocked to see some of them refer to this movie as a "teen sex comedy".

Wow, I didn't get that impression at all! Yes, the movie is infused with sex, and the two lead characters are horny teens, and there are quite a few comedic moments, but this is far from a teen sex comedy.

It's treatment of the subject matter is real, for one thing, and backdrop of the Mexican countryside and the director's detached observation's through third-person narration bring some sobriety to the film.

Be warned, though: there is a lot of sex, so not exactly a movie you're going to want to watch with the in-laws. Fantastically good fun to watch!

I saw the film twice in 2 days in original version , and I enjoyed it very much. It is titillating, at times hilarious, touching, candid, serious etc Roller-coaster of emotions!

I love the portrait the film draws of "Teenage Boys lust". The contrast with the mature and controlled Luisa is very interesting.

Altogether, I'd recommend it warmly to anyone who enjoys road movies in general and great characters. Obviously it is better in the original, so if you understand a bit of Spanish, don't be put off by the subtitles you end up reading them really quickly and still enjoy the images I've seen a lot of coming of age movies, this one is no different.

This movie also deal with political,social, and economic views that goes into the points of life. The girlfriends go to Europe, while the best friends do different summer jobs.

Bored, they fool around in-between. Then, they go to a wedding where they meet Lusia Mariel Verdu , who is the wife of Tenoch's cousin.

They talk about a secret beach. She balks at the offer. After the doctor visit and news of her husband's infidelity, she gets back with the boys' offer of finding the beach.

They get a jalopy, drive around parts of Mexico, reminiscing of past relationships and experiences. When they stop at a hotel, Luisa leaves a message to her husband.

While Tenoch come in her room asking for some shampoo, he finds her crying. However, after seeing her, she becomes enticed when he appears. She would seduce him intentionally.

Julio discovered the situation, flies off in rage, after that, the two have an oral fisticuffs. Midway, Julio and Luisa do it in the back seat of the car.

Equal justification. When they find the beach, they are able to put things behind. From the partying, swimming, and debauchery, all 3 were content.

They leave without drama back home. They would later have new relationships, new friends, and new jobs.

They later found out that Luisa has died of cancer. A new chapter in the making. A very powerful movie there.

If you seen many coming of age films, start seeing more with impact. This movie has that! Funny, serious, and thought-provoking without twists, turns, and silly stuff.

Very surprisingly, characters act in a realistic fashion, and the movie is neither superficially simple nor is it a 'scratch-your-head-and-wonder' type.

Well done on all fronts, very well acted. If you want honesty in a story you can follow, this is it. Jacobi1 30 October Well I have to say that everything about this movie is perfect.

Y Tu Mama Tambien is not a Sex Comedy, it's a Drama about two teenagers and a young woman exploring their sexuality for the first time even though all three of them already have had some experience, well at least two of the three we know of.

The MPAA is basically saying that it's alright to blow someones head off but it's wrong to have a sexual awakening.

Kyguy 13 January When looking at the movie cover and movie rating, perhaps the film seems like the Mexican version of a mix between Road Trip and American Pie, but after watching the film, deep life lessons can be found in the background of the picture.

I knew that most mainstream Hollywood movies would follow this theory, but was interested to see if this theory transcended both language and culture in this independent film.

Before delving into the specific nature of the theory, describing the colloquialism of the movie helps explain the movie's cultural phenomenon. The audience is introduced in Spanish with subtitles to two Mexican teenagers, Tenoch and Julio, who are seemingly free for the summer after their girlfriends leave for a European vacation.

Despite having to read subtitles the movie is easy to understand by the characters lively expressions and acting ability. Julio and Tenoch stumble across a beautiful woman, Luisa, who happens to be the wife of a distant cousin.

They lightheartedly invite her to go to a beach, really joking about it. After Luisa finds out her husband has cheated on him, she agrees to go out on a road trip to a beach named Heaven's Mouth.

On this journey, she seduces the teenagers and has sex with both of them. The sexuality of the film is realistic, which in no way is pornographic or crude, but rather honest and respectful.

In their journey to the beach, many scenes of the reality and blight of rural Mexican life can be seen through the windows of the old Volkswagen.

People being searched at checkpoints, drug busts, deadly traffic accidents, and poor villagers walking the streets, all give the film an underlying message reminding that many people are left behind in rich economies, penniless and hopeless.

Once reaching the beach, they are in paradise and relax and live in the beauty of nature. As the teenagers have to go home, Luisa decides to stay at the beach.

The ending shocks the audience with a surprising twist. It is revealed that Luisa knew she had had cancer and soon died after the guys left.

Much meaning is added to the movie after this realization is made and Luisa's character takes on a true mold of the healing myth.

This theory therefore not only applies to American films, but all people in all cultures. This is evident in seeing the two seventeen year old Mexican teenagers in this film.

The emotions, growing up, searching for oneself; all humans can relate to this. Although the film does not fit the popular mold of the Hero Myth, it fits the Healing Myth mold almost perfectly.

Luisa, the attractive female is this broken person, who flees home for two main reasons. The reason the audience is led to believe for most the film is because of her husband's affairs, she has left the life in Mexico to get away from her problems.

What the audience does not realize during the duration of the flick, is that Luisa is actually diagnosed with cancer, and is terminally ill.

Her need for rejuvenation and balance takes her to Heaven's Mouth and allows her to become whole again. She does this by simply living a life which is meaningful and seeking the truth.

In telling colorful stories of old times and sucking the marrow out of all interactions, this allows her to become whole and ready to die.

As Seger's theory gets more specific, it discusses the many ways the character can be broken. Whether spiritual, physical, emotional, or even sexual, the journey which the character goes must heal the broken aspect of them.

Luisa is broken on many levels. The one that is apparent to the audience is the sexual and emotional brokeness. She cries her self to sleep after she hears her husband has cheated on her and sexually misses his love and presence.

Just as the theory states, this outer wound forces Luisa into exile, which begins her process of transformation. This is a different variation in the theory because in fact Luisa knows that she is suffering from cancer.

The interesting twist is that the audience is the one who does not know about this wound and is hidden until the film's conclusion.

Although this shows a difference from the theory and the film, it does not disprove the theory. It is merely a trapping which is a product of the culture.

In noting this variation the audience can fully appreciate the beauty of the film's writing. Although her cancer is a physical ailment, this brokeness is also inner due to the place she keeps it.

Luisa does not let cancer slow her down but rather she lifts herself to live life to the fullest. This transformation of the way she lives her life can inspire all people to break out of their shell and live everyday as if it were their last.

The archetype present in the film also adds to the cultural phenomenon and proves Seger's theory in yet another way. The archetypes, usually found in hero myths, are commonly present characters.

Y Tu Mama Tambien does not have the typical archetype, in that it is not a character, but rather the narrator's voice who fits the archetype.

This archetype is the wise old man who provides the audience with special knowledge. This part is essential to the success of the film.

The narrator has an older, deep, calm, and soothing voice which gives the impression he is wise and intelligent.

The narrator's voice fills in all the gaps of the movie which are not said by the characters, which allows him to serve as the wise man for the audience.

One example which summarizes the narrator's purpose happens during the long car trip. Suddenly the noise of the movie becomes silent for two seconds and the narrator's voice calmly comes in.

The voice explains that the village they were passing was the village which Tenoch's nanny was born in. His nanny was forced to leave the village alone at the age of thirteen to look for work because of the desperate poverty she was experiencing.

A rather obvious theme of the film is travel. When they first meet Luisa, Tenoch and Julio talk romantically about taking a trip to the beach, but she hardly takes it seriously.

However, when her life is thrown into disarray, she calls them to tell them she wants to go on a trip after all. What follows is a road trip movie, an adventure in which all of the characters do things they might not do in their normal lives.

The open road liberates them from their self-imposed restrictions and allows them to feel an existential freedom that pushes them to places they never thought they'd go.

The road liberates them, erotically, philosophically, for better and for worse. Thus, travel is a central theme in the film, the catalyst for the personal journeys that each of the characters goes through.

The over-the-top macho facade of Julio and Tenoch is stripped away in the movie's final sex scene, in which the two share a passionate kiss that undermines the societal perceptions of masculinity to which they desperately aspire.

Their entire friendship is built around their shared masculinity, as they regularly call each other "faggot" and swap stories about their heterosexual affinities, but in this moment, the tension of their close friendship comes to a head.

Drunk and turned on, their connection turns erotic, a turn that changes their relationship permanently. At the start of the film, Julio and Tenoch seem like the best of friends.

They are inseparable, always laughing and hanging out, sharing good times and enjoying their youth. Their friendship is so strong that it seems impossible that anything would break it, but on the road trip, they each reveal that they slept with one another's girlfriends.

These betrayals are shattering and cause a huge breakdown in trust between the boys. While they were one "Charolastras" the name for their tightly knit group of friends , they are now sworn enemies who resent one another.

Thus, the major conflict of the film, the breakdown of their friendship, is the result of their respective betrayals, and their disrespect for the bonds that they have created as friends.

While it seems like they might be able to heal from this betrayal, it ultimately drives them apart in ambiguous ways. Julio and Tenoch are two young men who want to continue to have boyish fun even though the world would prefer they grow up.

At the time they embark on the trip in the movie, they are at the threshold of adulthood, about to go off to college, but still wanting to do drugs, get drunk, and have a simple good time, exploring their youth while they still can.

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It is also a subtle, yet brutal, comment on Latin culture as far as sex is concerned. The reaction of the two boys after realizing they have made love is purely Latin fear.

In another part of the world, that night of love could have been the new beginning of a wonderful friendship. Humor can make the awful truth palatable especially when merely speaking on issues of political corruption, oppression of the meek, and outrageous standards of virility imposed upon Mexican youth--leaves a sour taste in one's mouth.

The two main male characters are ever so subtly portrayed as unwitting victims who have been sucked into the "machine" of National Idealism.

This idealism does not ring true with their personal quite imperfect human relational experience.

The main female character, though unwittingly wise , is yet a victim nonetheless as she identifies with the poor with whom she finds solace.

I found the movie thoroughly delightful and laughed so hard that even the more revealing, erotic scenes by some considered soft porn only served to accentuate how deeply penetrating and pervasive"lies" of a society influence the young, restless, brave and idealistic even in their more intimate moments I highly recommend this to anyone who wishes to view a first class cinematic "event", which may well become a classic in Mexican filmmaking.

After watching this movie, I looked at what a few critics had to say about it and I was shocked to see some of them refer to this movie as a "teen sex comedy".

Wow, I didn't get that impression at all! Yes, the movie is infused with sex, and the two lead characters are horny teens, and there are quite a few comedic moments, but this is far from a teen sex comedy.

It's treatment of the subject matter is real, for one thing, and backdrop of the Mexican countryside and the director's detached observation's through third-person narration bring some sobriety to the film.

Be warned, though: there is a lot of sex, so not exactly a movie you're going to want to watch with the in-laws.

Fantastically good fun to watch! I saw the film twice in 2 days in original version , and I enjoyed it very much. It is titillating, at times hilarious, touching, candid, serious etc Roller-coaster of emotions!

I love the portrait the film draws of "Teenage Boys lust". The contrast with the mature and controlled Luisa is very interesting. Altogether, I'd recommend it warmly to anyone who enjoys road movies in general and great characters.

Obviously it is better in the original, so if you understand a bit of Spanish, don't be put off by the subtitles you end up reading them really quickly and still enjoy the images I've seen a lot of coming of age movies, this one is no different.

This movie also deal with political,social, and economic views that goes into the points of life. The girlfriends go to Europe, while the best friends do different summer jobs.

Bored, they fool around in-between. Then, they go to a wedding where they meet Lusia Mariel Verdu , who is the wife of Tenoch's cousin. They talk about a secret beach.

She balks at the offer. After the doctor visit and news of her husband's infidelity, she gets back with the boys' offer of finding the beach.

They get a jalopy, drive around parts of Mexico, reminiscing of past relationships and experiences. When they stop at a hotel, Luisa leaves a message to her husband.

While Tenoch come in her room asking for some shampoo, he finds her crying. However, after seeing her, she becomes enticed when he appears. She would seduce him intentionally.

Julio discovered the situation, flies off in rage, after that, the two have an oral fisticuffs.

Midway, Julio and Luisa do it in the back seat of the car. Equal justification. When they find the beach, they are able to put things behind.

From the partying, swimming, and debauchery, all 3 were content. They leave without drama back home. They would later have new relationships, new friends, and new jobs.

They later found out that Luisa has died of cancer. A new chapter in the making. A very powerful movie there. If you seen many coming of age films, start seeing more with impact.

This movie has that! Funny, serious, and thought-provoking without twists, turns, and silly stuff. Very surprisingly, characters act in a realistic fashion, and the movie is neither superficially simple nor is it a 'scratch-your-head-and-wonder' type.

Well done on all fronts, very well acted. If you want honesty in a story you can follow, this is it.

Jacobi1 30 October Well I have to say that everything about this movie is perfect. Y Tu Mama Tambien is not a Sex Comedy, it's a Drama about two teenagers and a young woman exploring their sexuality for the first time even though all three of them already have had some experience, well at least two of the three we know of.

The MPAA is basically saying that it's alright to blow someones head off but it's wrong to have a sexual awakening.

Kyguy 13 January When looking at the movie cover and movie rating, perhaps the film seems like the Mexican version of a mix between Road Trip and American Pie, but after watching the film, deep life lessons can be found in the background of the picture.

I knew that most mainstream Hollywood movies would follow this theory, but was interested to see if this theory transcended both language and culture in this independent film.

Before delving into the specific nature of the theory, describing the colloquialism of the movie helps explain the movie's cultural phenomenon.

The audience is introduced in Spanish with subtitles to two Mexican teenagers, Tenoch and Julio, who are seemingly free for the summer after their girlfriends leave for a European vacation.

Despite having to read subtitles the movie is easy to understand by the characters lively expressions and acting ability. Julio and Tenoch stumble across a beautiful woman, Luisa, who happens to be the wife of a distant cousin.

They lightheartedly invite her to go to a beach, really joking about it. After Luisa finds out her husband has cheated on him, she agrees to go out on a road trip to a beach named Heaven's Mouth.

On this journey, she seduces the teenagers and has sex with both of them. The sexuality of the film is realistic, which in no way is pornographic or crude, but rather honest and respectful.

In their journey to the beach, many scenes of the reality and blight of rural Mexican life can be seen through the windows of the old Volkswagen.

People being searched at checkpoints, drug busts, deadly traffic accidents, and poor villagers walking the streets, all give the film an underlying message reminding that many people are left behind in rich economies, penniless and hopeless.

Once reaching the beach, they are in paradise and relax and live in the beauty of nature. As the teenagers have to go home, Luisa decides to stay at the beach.

The ending shocks the audience with a surprising twist. It is revealed that Luisa knew she had had cancer and soon died after the guys left. Much meaning is added to the movie after this realization is made and Luisa's character takes on a true mold of the healing myth.

This theory therefore not only applies to American films, but all people in all cultures. This is evident in seeing the two seventeen year old Mexican teenagers in this film.

The emotions, growing up, searching for oneself; all humans can relate to this. Although the film does not fit the popular mold of the Hero Myth, it fits the Healing Myth mold almost perfectly.

Luisa, the attractive female is this broken person, who flees home for two main reasons. The reason the audience is led to believe for most the film is because of her husband's affairs, she has left the life in Mexico to get away from her problems.

What the audience does not realize during the duration of the flick, is that Luisa is actually diagnosed with cancer, and is terminally ill.

Her need for rejuvenation and balance takes her to Heaven's Mouth and allows her to become whole again.

She does this by simply living a life which is meaningful and seeking the truth. In telling colorful stories of old times and sucking the marrow out of all interactions, this allows her to become whole and ready to die.

As Seger's theory gets more specific, it discusses the many ways the character can be broken. Whether spiritual, physical, emotional, or even sexual, the journey which the character goes must heal the broken aspect of them.

Luisa is broken on many levels. The one that is apparent to the audience is the sexual and emotional brokeness. She cries her self to sleep after she hears her husband has cheated on her and sexually misses his love and presence.

Just as the theory states, this outer wound forces Luisa into exile, which begins her process of transformation. This is a different variation in the theory because in fact Luisa knows that she is suffering from cancer.

The interesting twist is that the audience is the one who does not know about this wound and is hidden until the film's conclusion.

Although this shows a difference from the theory and the film, it does not disprove the theory. It is merely a trapping which is a product of the culture.

In noting this variation the audience can fully appreciate the beauty of the film's writing. Although her cancer is a physical ailment, this brokeness is also inner due to the place she keeps it.

Luisa does not let cancer slow her down but rather she lifts herself to live life to the fullest. This transformation of the way she lives her life can inspire all people to break out of their shell and live everyday as if it were their last.

The archetype present in the film also adds to the cultural phenomenon and proves Seger's theory in yet another way. The archetypes, usually found in hero myths, are commonly present characters.

Y Tu Mama Tambien does not have the typical archetype, in that it is not a character, but rather the narrator's voice who fits the archetype. This archetype is the wise old man who provides the audience with special knowledge.

This part is essential to the success of the film. The narrator has an older, deep, calm, and soothing voice which gives the impression he is wise and intelligent.

The narrator's voice fills in all the gaps of the movie which are not said by the characters, which allows him to serve as the wise man for the audience.

One example which summarizes the narrator's purpose happens during the long car trip. Suddenly the noise of the movie becomes silent for two seconds and the narrator's voice calmly comes in.

The voice explains that the village they were passing was the village which Tenoch's nanny was born in.

His nanny was forced to leave the village alone at the age of thirteen to look for work because of the desperate poverty she was experiencing.

This really contrasts the two worlds present in Mexico, the rich upper class, and the marginalized poor. Throughout the film the narrator's voice provides similar comments which opens the viewer to an entirely new insight of the often painful Mexican life.

The narrator even reveals the secret of Luisa's cancer in the end. He then tells of the way she continued on with her life as balanced and full of energy.

The narrator captures the essence of the film in his wise old man archetype which he beautifully fulfills. Balance in life is something that all people want, but do not necessarily seek out actively until it is too late.

Luckily for Luisa she balanced her life by simply taking a trip with two guys to a beach. In this journey she learned life lessons of friendship, humor, compassion, pain and joy.

The movie has certain differences from the exact mold of the Healing Myth, but those minute differences do not affect the overall theory.

Rather they add to the uniqueness and power of the movie. Julio Bernal and Tenoch Luna are typical arrogant seventeen year old boys whose girlfriends have gone away to Europe.

Bored and sexually frustrated, they invite an attractive older woman Verdu on a road trip to a beach that doesn't exist in order to try and seduce her.

Startlingly she accepts. As the days progress, the boys' relationship with Luisa develops and they soon find themselves entangled in a lecherous love triangle.

An intoxicating fusion of sex, friendship, politics and death, Y Tu Mama Tambien is a mix of sober realism with carefree fun.

While an omniscient voice narrates the past present and future of seemingly meaningless background events, the boys continue their trip, oblivious to all but their own libidos.

Although skilfully executed through voice overs, the political statement doesn't quite cement with the main storyline as intended.

An interesting watch, if you are patient enough to handle the slow moving storyline but it does feel like Alfonso Cuaron is trying a bit too hard to be arty and missing out on simple clarity.

After opening into an explicit sex scene, you're bombarded with names and background information and spend the next few scenes trying to work out who's who, when it really doesn't matter.

Well worth a watch though, if only for the exceptionally well written characters. The boys are especially believable and development of Luisa's character from fragile tag-along to free spirit is well-paced.

Kubrick is dead! Long Live Alfonso Cuaron! Alfonso Cuaron is one of the best directors in recent years. Dealing with dreams and realities, with social problems and political ones in one film with no special effects or gimmicks is amazing.

The story put on film is like friendships all over the world, once a secret is revealed between friends it only leads to jealousy and resentment between them.

There are no gay sex scenes here. Chlorinated Onanisms tedg 11 November Spoilers herein. All other films carry the burden of nationality, and it is a heavy burden indeed.

It is burden enough when the country has a healthy economy, a long history with film, and political stability. But when the country lacks any of these, each marginally competent film gets blown up to mythic proportions.

So it was within a whirlwind of expectations that I viewed this as a non-Mexican North American. But there is a backlash from the street, which promotes the frank, impulsive sexuality of hispanics.

And so we have Spanish films that are about sensual caprice. And people flock to them for self-definition. Both literary and cinematic.

Now along comes this film, that doesn't make any such synthesis. That this is deliberate can be seen in the girl leaving her writer husband, whose friends talk about intellectual things she doesn't think important.

Its pleasant enough, especially the dialog, and I didn't mind watching it. But knowing that millions of Mexicans adjust their sense of self using this template is somewhat tragic.

So let's emphasize what element remains of interest: the narrative structure. These are separated by very clever sound editing and constitute the best element of the film.

All the folding is done here: for instance, one road is blocked by a traffic death and later on a different road the narrator informs us that if they had been on that road tens years prior they would have seen an accident with similar social context.

Ted's Evaluation -- 2 of 4: Has some interesting elements. Contra-2 10 September The "Coming of Age" genre is so well worn, that when a movie like Y Tu Mama Tambien comes along, the frank authenticity can be jarring.

Although the plot doesn't steer far away from convention, at each point the viewer's anticipation is deftly sidestepped, and the scene is injected with a dose of raw emotion that has little to do with Drama, and everything to do with reality.

It is so refreshing to see characters behave in a way that resembles personal memory, if not actual experience. They float along in their privileged bubble, largely oblivious to the social tensions wracking their country, except for facile quips like "left-wing babes are totally hot".

They have a lot to learn, and their trip with Luisa is a catalyst to confronting their adolescent fantasies and indolence with a dose of reflection.

As for the much talked about sexy bits, they are funny, erotic, and utterly non-pornographic. What a pity that such a candid portrayal of sexuality seems to be nearly impossible in American film.

Highly recommended. The two teenage males in this sharply etched film, "Y tu mama tambien," are obsessed with sex and view its pleasures as something akin to joyfully skating across a frozen lake.

As the story develops the ice gets thinner and thinner, its incapacity to carry the weight of their fantasies advances faster than their growing inevitable end stop - maturity.

The Mexico of the teenagers and their generally stoned friends is one of affluence and political connectedness. One father belongs to a country club that features one of the biggest private swimming pools I've seen - no film set here the pool is the scene of a very, ah, unusual depiction of teen horniness.

Neither of the lads cares much about the actual political and social issues occurring during their adventures and which are seamlessly integrated into their story.

Their futures are a blank to them but a blank untroubled by the need to be concerned or ambitious. And then arrives the femme fatale, a beautiful, smart but very raunchy just-left-husband gal with whom they take off in a beaten-up old station wagon to find, ostensibly, a secret beach.

Of course what the guys have in mind is seduction. Without a polemical discourse the viewer is carried into the isolation and poverty of much of Mexico as asphalt yields to hard dirt roads leading to barely navigable sand traps.

The people they encounter along the way are realized subtly but effectively. These teens aren't really so likable but they do show occasional promise of growing up, a redeeming feature.

This is less a road film than it is a comedy of very bad manners. The director and three leading characters have taken raunch to a new and interesting cinematic plane.

While these kids may be a parent's nightmare, they become more complex, and inevitably more insightful, as the film develops. By the end they are very, very different people and in danger of becoming sort of plain vanilla post-teens whatever the Mexican equivalent of the Japanese "salaryman" is, they may well be launched along that path.

This film is rated "R" but many will wonder how it avoided an "X. But some of the sex scenes are hilarious - especially if the viewer has ever been a teenager.

The scenery is gorgeous. Definitely a different and engrossing story. Along with Mullholland Drive, the best movie I've seen this year.

And it similarly has the surprise ending which makes one reevaluate the whole experience. If you haven't seen this movie, stop reading and go rent it.

Renting is especially practical since then you will be able to piece the real story afterwards by viewing the key scenes again.

The movie worked for me on at least three levels. The surface layer of a coming-of-age road-movie with good dialogue and frank treatment of sex is fairly good -- well acted, beautifully shot, etc.

One level down is the real Mexico. I liked this one better; with the bits and pieces of information scattered around, one can still get a pretty good sense about the social contrasts in Mexico.

A whole "Germinal" is hidden in these hints, and this would have been a pretty good movie even if that was all there was to it.

But hidden even deeper is a grand tragedy on the scale of Ancient Greeks. Some previous comments described it as a melodrama, but this was subtle and so craftily done that it is tragedy for me : What would you do if you had only a month to live?

Luisa has a luxury of an unhappy marriage and a cheating husband away from home whom she still cares about and an opportunity to have some good time with two teenage boys.

But does she have the right to be manipulative only because she is dying? Is she doing this just to have a good time or she is trying to continue living in their memory, as the scene with the toy of little Luisita suggests?

In any case, for me this is a story about Luisa and her choices. The boys, the road and the beach are only props Fidelio-3 15 April The lesser you know about Y Tu Mama Tambien, the better and more powerful your experience with the Mexican gem will be.

What sparked me to write this little comment is reading the previous review written by Naturalhealer. She doesn't give up for the sake of those two horny teens I would have done the same thing if I was in her shoes knowing that my life is about to end.

One last taste of freedom. To discover Paradise. What life is all about. That's Louisa's personal journey to find the answers.

Sex serves multiple purposes in the film The film is mysterious just like life. I came out of the film feeling refreshed and it made me to look at my life in a different light.

It is set in against the backdrop of Mexico's political and economic realities, specifically at the end of the uninterrupted seven decades of presidents from the Institutional Revolutionary Party and the rise of the opposition led by Vicente Fox.

The film's explicit depiction of sex and drug use caused complications in the film's rating. Without their girlfriends around, the boys take the opportunity to live as bachelors.

Trying to impress Luisa, the boys talk about a fictitious, secluded beach called Boca del Cielo "Heaven's Mouth" ; however, she initially declines their invitation to accompany them there.

Later, Luisa visits a doctor; after her appointment, she receives a phone call from a drunken Jano, who tearfully confesses that he cheated on her.

The next day, Luisa calls Tenoch and asks if their offer to accompany them to the beach is still open. Although Julio and Tenoch have little idea where they will actually go, the three set off, driving through rural Mexico.

They talk about their relationships and sexual experiences to pass the time: the boys boast about their exploits, while Luisa speaks of Jano and recalls her first love, who died in a motorcycle accident.

During an overnight stop, Luisa leaves a tearful message on Jano's answering machine explaining that she has left him.

Tenoch enters her motel room in search of shampoo but finds her crying. Luisa seduces him, and the two have sex. Julio sees them through the open door and walks away, upset.

Afterward, Julio tells Tenoch he had sex with Tenoch's girlfriend. The next day, Luisa notices the tension between the boys, so she has sex with Julio to equalize their perceived status.

An upset Tenoch then reveals that he has had sex with Julio's girlfriend. Julio and Tenoch begin fighting, but stop when Luisa threatens to leave them.

Driving along the coastal road that evening, they chance upon an isolated beach that is actually called Boca del Cielo. Making camp there, they begin to relax and enjoy the ocean, along with the company of a local family.

After their campsite is ransacked by a herd of pigs, they spend the night in the nearby village, where Luisa makes another phone call to Jano, bidding him an affectionate but final farewell.

That evening, Luisa, Julio, and Tenoch drink to excess and joke about their sexual transgressions. Julio and Tenoch reveal that they each have frequently had sex with the other's girlfriend.

Julio adds that he had sex with Tenoch's mother, but it is unclear whether he is serious. The three dance together sensually and then retire to their room.

As Luisa kneels between the boys and stimulates them both, the boys embrace and kiss each other passionately. The next morning, the boys wake up together, naked.

Tenoch goes outside to vomit, and the boys are eager to return home. The narrator explains that their journey back was quiet and uneventful, and that Luisa stayed behind to explore the nearby coves.

The narrator further discloses that the boys' girlfriends broke up with them, and Tenoch and Julio also stopped spending time together.

A year later, in a chance encounter in Mexico City, Tenoch and Julio have a cup of coffee. They awkwardly catch up on each other's lives and news of their mutual friends.

Tenoch informs Julio that Luisa died of cancer a month after their trip, and that she had been aware of her prognosis during the time they had spent together.

Tenoch excuses himself because his current girlfriend is waiting for him. Before leaving, Tenoch tells Julio he will see him again; however, the narrator reveals that this interaction is their last meeting.

Overlaps include a road trip featuring a love triangle, wide shots of a car curving down a road, an omniscient narrator, and a character dancing while staring into the camera.

The company provided sufficient funding to make the film and launch an impressive marketing campaign. Advertisement and publicity appeared across Mexico.

Along with the help of Anhelo Producciones, the ratings board controversy gave the film a lot of free publicity in Mexico.

The film became a global success after its distribution by major U. The film was bought in the U. It was released without a rating in the US because a market-limiting NC was unavoidable.

They took legal action to expose the government-controlled ratings board, prompting its transformation into an autonomous organization free of government involvement and political influence.

They claimed the ratings board was operating illegally by denying parents the responsibility to choose what their child can watch, violating fundamental legal rights in Mexico.

From Wikipedia, the free encyclopedia. This article is about the Mexican film. Theatrical release poster. Release date. Running time.

Mango Languages. Indie Birds. Retrieved

Theatrical release poster. The narrator's voice fills Thick dick tumblr all the gaps of the Xconfessions porn which are not said by the characters, which allows him to serve as the wise man for the audience. Roger Ebert April 05, Bold words? It is revealed Getting laid online Luisa knew she had had cancer and soon died after the guys Lauren ashford. The next morning, the boys wake up together, naked. Yet, the viewer's emotional involvement is perhaps less than what Asian girl phone sex might have been, given Bigcocker perspectives.

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Migar says:

Welche Wörter... Toll, der glänzende Gedanke

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