Cinema's sexual identity

The impulses that a film director manifests when positioning the camera makes us recognize the unique and sexual identity of each cinematographic work, since those impulses will always come from the libido. Who ever said that sex is not art? Thinking about that sexuality that the director gives to the script through scenes affirms the idea that I put forward as the "sexual identity of cinema". The identity of cinema is discovered in the observation of the movements of the camera in communion with the acting techniques. They will make love to support a wonderful or stupid story, thus defining their sexuality. If you maintain a firm conviction about what you like, what causes pleasure, about that sensation so similar to that obtained when you kiss, then the director will be doing the right thing; and that sexual identity in auteur cinema will be sincere, or perhaps more than that: it will be authentic. Great filmmakers have kept the flame burning sharp and sharp by releasing Eyes Wide Shut or Pretty Woman, but if one suddenly wanted to change styles abruptly, it would make their films lose their true identity, marking a significant downfall. I will not mention examples of this, because in this blog I do not do film criticism. I simply express myself as a filmmaker. Like all of them.

What happened with Mexican cinema was exactly that: By trying to resemble Hollywood cinema, national cinema lost that sexual identity; falling into artistic ruin by creating "recyclable" content with large amounts of money that have simply been used to pay for a catering service or rent a private beach where it was possible to film a ridiculous chase. It is worth mentioning that in the eighties and nineties, memorable years for Mexican cinema, it was shown that this country had talented people: Screenwriters writing literature, writing poetry for the scenes; directors with ideas, feelings, agility and intelligence for the camera; not to mention the wonderful golden age of Mexican cinema! So I affirm that many of us are waiting for sexual identity to return to our cinema and for creatives to leave their antics, preferences and hypocrisy. In this manner, I wrap things up without offending anyone, but I do send my most affectionate greetings to the filmmakers who, like me, are waiting; because as far as my area is concerned, current Mexican cinema does not have the slightest sense of Art Direction. And that is another of the aforementioned reasons why American and French cinema continue to be well positioned, by maintaining an impeccable sexual identity.*

*translation of an original entry from April 30th, 2020.

Photo: Julie Diaz as "Lini" in A Wakefulness of Indocility (2023).

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