Great. I hope they use a good picture.
This is such a discovery Brady. Thanks!!
His camera work in Yanco is amazing, and of course, the sound treatment. The concert sequence with animals is just something out of any possibility for industrial cinema, in terms of conception, mise en scène, and hazard’s poetry. Only few directors decide to change their actors and actresses for animals, sounds and elements of nature.
Reading about his biography, several sources describe him as a controversial political figure, equally being at the service of controversial figures in Mexican history. He seems to be rejected by a large segment of filmmakers, because of his work for the polemic government of president Luis Echeverría Álvarez in the 70’s.
I’d like to explore more on these issues, and of course, inside his films.
I didn’t know about that, thanks Javier. He seems to be highly relevant artistically and, as you mention, politically speaking. It’s weird that his name hasn’t surfaced at all in national cinema discussions.
There’s also very little info on experimental films over here, I hope this could be the starting point to expand the available knowledge of Mexican cinema history in more underground or obscure areas.
Yes Filmboat, I have the feeling that there’s a political campaign against Gonzalez and his filmography. We must take a look on different versions of history to make an opinion on him. But meanwhile, let’s discover more of his interesting films.
No he tenido tiempo de ver YANCO, pero con tanta propaganda y elogios me veo forzado a dedicarle su merecido tiempecito.
Lucky Canaletto, you can also watch some of his other works. Tell me what you think if you decide to watch, say, Viento Negro.
Thanks so much for sharing, Brady dot. :-D
Great film, and one I had heard nothing about before this thread.
No problem, Ralch. S’what I do.
Yanco, like I expected from your comments, didn’t disappoint, au contraire. The first half felt like an extended simple and attractive short film but then it shifted to second gear bringing an added “complexity” (compared to the first half) that IMO, although brought an interesting twist, it veered away from a purely simple and truly beautiful little film. However, it’s immensely enjoyable.
I agree with Javier about the animal’s sequence.
Servando’s political views, obscure and controversial as they might be, shouldn’t affect the way we look at his films IMO, since, as Yanco concerns, I didn’t notice an evident political propaganda or the like.
Were you guys able to find Viento negro on-line?
Filmbot, did you watch El escapulario?
Viento Negro is online without subtitles, as are multiple Gonzalez films.
Brady, could you pass me the link?
NVM, it’s not complete. There are other Gonzalez films online, though; hold on.
El Ultimo Tunel, 1987
De Que Color es el Viento?, 1973
El Escapulario, 1968
Thanks a million Brady.
Canaletto I haven’t seen El Escapulario yet, but since it’s available for downloading and online viewing [thanks Brady.], I’ll probably do it in these days.
Filmbot, do you know how to make subtitles? If so, could you make some for De Que Color es el Viento?
I’d like to help but I don’t have any experience creating subs, I’ve just downloaded some to play with video files, but that’s it, sorry.
It’s okay, I’ll find someone else. Berjuan expressed some interest in it, too.
I hope he does, all of Sevando’s filmography looks worth spreading worldwide
There’ll be a screening of one of his films this Tuesday in Guadalajara. Effing coincidences!
Oh, seriously? Which one?
Someone experienced with subtitles would be helpful. I’ve searched up and down pirate bay and isohunt and came up fruitless. De que color es el viento? does seems to have somewhat of a intermediate level of understanding. Got most of the idea when I watched it.
Yanco isn’t that dialogue intensive, either, it can be pretty much fully experienced with no subs. I agree, though, and we’ve been trying to get somebody to do subtitles for his films.