Y tu mamá también is a classic Mexican road film released in 2001 following the lives of Julio and Tenoch, best friends from relatively well-off Mexican families. While both of their girlfriends are away on vacation in Italy, they attend a wedding where they meet Jano, Tenoch’s cousin, and Jano’s wife Luisa, with whom they both are enamored by. In their conversation, Luisa mentions she met Tenoch when he was a child but he doesn’t recall their interaction. Tenoch and Julio mention their upcoming road trip and invite Luisa, who declines the offer originally. The day of the road trip, Luisa changes her mind because of Jano’s telephonic confession of his infidelity, which Luisa later reveals she always knew about. On the road, the boys tell Luisa about a “manifesto” that defines their friendship. At their first motel, Luisa breaks up with Jano, and as a result, Luisa convinces Tenoch to have sex with her. Julio walks in on them, though neither notice. To get back at Tenoch, Julio later confesses to having an affair withTenoch’s girlfriend, to which Tenoch demands details. Because of the conflict between the boys, Luisa has sex with Julio in the car, but this does not ease the tensions between them. Tenoch confesses to having had an affair with Julio’s girlfriend as well, resulting in a huge fight between the best friends. Luisa gives them an ultimatum: unless the two make up, she will leave and find her own way back to Mexico City. The two apologize and beg Luisa to stay, and they continue on their journey to the beach. There, they find a family of fishermen, and go out to sea in a boat. When they return, they find their camps destroyed by pigs, so they head into the nearest town and stay with the fishermen family for the night. With what remains of their night, the three get very drunk, reveal more sexual confessions, and Luisa seduces the two into a threesome, where Julio y Tenoch engage with the other. The next morning, Tenoch and Julio wake up in the same bed without Luisa in it, who has already woken up and started conversing with the fishermen family. She decides to stay with them while Tenoch and Julio return home, embarrassed by their actions from the previous evening. Tenoch and Julio only see each other once more — a year after their trip. They talk over coffee, where Tenoch tells Julio that Luisa died of cancer a month after they left. She had known the whole time of her condition. The narrator reveals that Tenoch and Julio would never see each other again.
Describes the setting of a scene in a play or a film. It refers to everything placed on the stage or in front of the camera—including people. In other words, mise en scène is a catch-all for everything that contributes to the visual presentation and overall “look” of a production. When translated from French, it means “placing on stage.”
This foreground is overlaid onto a group of older friends with the trio’s fisherman acquaintance, Chuy, seated among them. Although set far into the background, this group of older friends is well illuminated with overhead, fluorescent lighting as well as being partially backlit. Although on the edge of the camera’s depth of field, it is apparent that the figures lit in the background are aware of and partially interact with the characters in the foreground. While this lighting and semi shallow depth of food technique leads the viewer to focus on the trio, the background lighting leads the viewers eyes to recognize the group of older friends as voyeurs to our main characters. This scene bisected by foreground and background uses lighting to draw the viewer's eye to initially to the union of the trio, then, sequentially, to the group of onlookers or witnesses present for the development and climax of the scene.
The costumes worn by all three of these characters also reflects the social class of the characters. These men are all present for a wedding of a wealthy and high-ranking government official they all are connected to through Tenoch’s father, a very wealthy economist and public figure. Julio is raised in a middle-class, fatherless household. While Julio and Tenoch’s families differ in political ideologies and class status, the two are strong friends anyway. Both are well aware of their own and the other’s class status, as they both use it towards the other condescendingly when they learn of the other having sex with their respective girlfriends.
Both actors also portray figure behaviors particularly well. After the two race through the pool, which is typical of their friendship, they pause to evaluate the results. The constant racing by the two boys is a metaphor for their unspoken competition in many aspects of their lives — relationships with their parents, having as much sex as possible, class and social status, educational and social freedom. The two both envy the other in some aspect, and the two come to terms with that throughout the film. After Julio reveals that he had sex with Ana, Tenoch gets out of the water and runs away, completely broken and lost from this revelation. Julio remains in the pool, and when he finally gets out, he is cleansed of his past sin through honesty, though he still deals with consequences later.
This is the art of photography and visual storytelling in a motion picture or television show. Cinematography comprises all on-screen visual elements, including lighting, framing, composition, camera motion, camera angles, film selection, lens choices, depth of field, zoom, focus, color, exposure, and filtration. Cinematography sets and supports the overall look and mood of a film’s visual narrative. Each visual element that appears on screen, a.k.a. the mise-en-scène of a film, can serve and enhance the story—so it is the cinematographer’s responsibility to ensure that every element is cohesive and support the story. Filmmakers often choose to spend the majority of their budget on high-quality cinematography to guarantee that the film will look incredible on the big screen.
Editing is the process of putting a film together–the selection and arrangement of shots and scenes. Editing can condense space and time, emphasize separate elements and bring them together, and organize material in such a way that patterns of meaning become apparent. In addition, editing can determine how a film is perceived: for instance, quick, rapid cuts can create a feeling of tension, while a long take can create a more dramatic effect. The first photoplays generally had no cutting, owing to the fact that they were single-reel films; once filming began, you could not stop until the film ran out. (https://filmglossary.ccnmtl.columbia.edu/term/editing/)
Sound is an integral part in a film. It refers to everything that the audience hears including sound effects, words and music. Sound is used in films for various purposes, including: providing the information to the viewer about the location of the scene, heightening the mood, telling the audience about the characters and advancing the plot. Every person who watches a film realizes that the choice of voices, soundtrack and music present in a film affect the way that the viewer perceives a particular film. As a result, the sound is an important and integral element of the film, one that determines the way that the viewer experiences and understands a film as a visual experience.
Narrative analysis is an examination of the story elements, including narrative structure, character, and plot. A narrative can be considered to be the chain of events in a cause-effect relationship occurring in time and space. In order to analyze the narrative of a film, we need to first make the distinction between the plot of the film and the story of the film. This is sometimes referred to as the discourse and story of a film. Narrative may also be called the story thought story mainly refers to the events that describe the narrative.
Film genres are various forms or identifiable types, categories, classifications or groups of films. (Genre comes from the French word meaning "kind," "category," or "type"). These provide a convenient way for scriptwriters and film-makers to produce, cast and structure their narratives within a manageable, well-defined framework. Genres also offer the studios an easily 'marketable' product, and give audiences satisfying, expected and predictable choices. Genres refers to recurring, repeating and similar, familiar or instantly-recognizable patterns, styles, themes, syntax, templates, paradigms, motifs, rules or generic conventions.