Film ReviewsHecho en México: Propaganda Sounds
Oct 9, 2014, Anchorage Press
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"Hecho", "en", "México" are three small words that when strung together translate simply to "Made in México," the ubiquitous export tag behind any product made in México. The label consists of a government-sanctioned logo that is comprised of a rectangle containing the words "Hecho en" above head of an eagle, and the word, "México" just underneath it. Hecho en México is fittingly the name of the music documentary from Mexican producer Lynn Fainchtein (also known for her work with Mexican filmmakers like Alejandro González Iñárritu and Guillermo Arriaga in Babel, Amores Perros and 21 Grams). The film was also produced and directed Duncan Bridgeman, a British composer with an impressive career working with big names like Paul McCartney.
Bridgeman's work in Hecho en México is exceptional. It was surprising to hear that this project was his introduction to the country, but after two years in México, he succeeded in bringing together a compelling variety of musical styles, artist, writers and intellectuals that are loved by-and speak to the lives of-contemporary Mexicans. Hecho en México is a powerful and gorgeous visual narrative that tugs at the heart strings of Mexicans at home and in diaspora, and gives viewers worldwide an introduction to the country via a survey of music that cuts across socio-economic structures, ethnic, and racial landscapes.
Hecho en México is not the first instance in which México has been reflected in a foreign mirror. Like Sergie Eisenstein did before him in his 1930s film,¡Que viva México!, Bridgeman also presents México through a very wide lens and touches on the obligatory cultural markers and topics such as love, death, religion, and economics. The difference is that Bridgeman has more buy-in from the people involved in the making of the film. México itself is the main protagonist, unfolding on the screen through the musicians, long shots of the land and cityscapes, and the montage of overlapping images architected by the filmmakers. This, in combination with Bridgeman's musical background, makes for a production that goes, "Pop!" just like Mexican culture does every day through color, lightness and joy.
In presenting the rich culture, Hecho en México educates viewers about multiculturalism and diversity in México. Viewers will be delighted by the variety of musical styles and the different combinations of artists. The underlying narrative is poetic and delivered through iconic powerhouses like Chavela Vargas and Elena Poniatowska. The film also introduces viewers to younger musicians who are quickly becoming the new icons of Mexican music and widening the breadth of the musical landscape to reflect México's place in an interconnected and globalized world. Rap music in some of the 68 indigenous languages?-Si!
Hecho en México is for everyone, as evidenced by its wide distribution in and out of México. In México, the documentary has even shown on regular TV and movie theaters simultaneously, making it available to all Mexicans regardless of the cost of the movie tickets. This is both surprising and not, considering it was bankrolled by media mogul Emilio Azcárraga of Grupo Televisa, México's media monopoly. Televisa is in the process of expanding its empire into the telephone arena, and thus engaging in a direct corporate battle against the "Mexican Warren Buffet," Carlos Slim, for control of wireless and telecommunications pesos. Both, Azcárraga and Slim know that control of these sectors equals economic power and cultural control, making the average person in México even more powerless over their lives and environment. Once the delight that the film bestows settles in, once viewers are filled with the wonders of México and start looking for airfare deals to the great Tenochtitlán (the historic Aztec capital), some may be inclined to take pause and ask, what happens when one scratches the surface of this amazing film?
The "Hecho en México" logo adorns goods and products meant for export that are still largely unaffordable by Mexican people, who on the average make $5.06 dollars per day. The economic pressures, along with growing political fears and restlessness are not addressed in Hecho en México. In an interview with NPR's Alt.Latino, the filmmakers are quick to point out that despite Azcárraga's funding, neither he nor Televisa placed any censorship, restrictions or parameters on the film. They mention that the film was Televisa's idea, as was the choice of director and producer. To his own credit, Bridgeman admits that he is not qualified to represent the complex and dire political conditions in México. Fainchtein has no excuse. According to their interview, the filmmakers' decision to make an apolitical film was in the interest of rekindling the joy of being Mexican for Mexican people. (Who knew the flame was out?) After thousands of years, and especially the last 500 bursting at the seams with of colonialism, dictatorships, revolutions and corrupt governments, the Mexican spirit is alive and well, though suffering. Art, culture and music continue to be the widest form of expression in and out of México. Given the resiliency of the Mexican people through history, one expects that the culture will outlive both Azcárraga and Slim. The dynamics of the production aspect of the film beg some questions; if there was really no censorship or restrictions placed on the filmmakers, if they really had carte blanche, and considering the caliber and political orientation of some of the writers and musicians involved, how can Hecho en México be such an apolitical film? Was it simply a lack courage on the part of Fainchtein and Bridgeman? The film is nevertheless a visual and audible treat. It goes without saying, the soundtrack is a must. It will be up to each individual viewer to assess where the lines are between culture and art, exports and propaganda.
Hecho en México plays at Bear Tooth on Monday, Oct. 13 at 7:30 p.m.Also available on Netflix.
Bridgeman's work in Hecho en México is exceptional. It was surprising to hear that this project was his introduction to the country, but after two years in México, he succeeded in bringing together a compelling variety of musical styles, artist, writers and intellectuals that are loved by-and speak to the lives of-contemporary Mexicans. Hecho en México is a powerful and gorgeous visual narrative that tugs at the heart strings of Mexicans at home and in diaspora, and gives viewers worldwide an introduction to the country via a survey of music that cuts across socio-economic structures, ethnic, and racial landscapes.
Hecho en México is not the first instance in which México has been reflected in a foreign mirror. Like Sergie Eisenstein did before him in his 1930s film,¡Que viva México!, Bridgeman also presents México through a very wide lens and touches on the obligatory cultural markers and topics such as love, death, religion, and economics. The difference is that Bridgeman has more buy-in from the people involved in the making of the film. México itself is the main protagonist, unfolding on the screen through the musicians, long shots of the land and cityscapes, and the montage of overlapping images architected by the filmmakers. This, in combination with Bridgeman's musical background, makes for a production that goes, "Pop!" just like Mexican culture does every day through color, lightness and joy.
In presenting the rich culture, Hecho en México educates viewers about multiculturalism and diversity in México. Viewers will be delighted by the variety of musical styles and the different combinations of artists. The underlying narrative is poetic and delivered through iconic powerhouses like Chavela Vargas and Elena Poniatowska. The film also introduces viewers to younger musicians who are quickly becoming the new icons of Mexican music and widening the breadth of the musical landscape to reflect México's place in an interconnected and globalized world. Rap music in some of the 68 indigenous languages?-Si!
Hecho en México is for everyone, as evidenced by its wide distribution in and out of México. In México, the documentary has even shown on regular TV and movie theaters simultaneously, making it available to all Mexicans regardless of the cost of the movie tickets. This is both surprising and not, considering it was bankrolled by media mogul Emilio Azcárraga of Grupo Televisa, México's media monopoly. Televisa is in the process of expanding its empire into the telephone arena, and thus engaging in a direct corporate battle against the "Mexican Warren Buffet," Carlos Slim, for control of wireless and telecommunications pesos. Both, Azcárraga and Slim know that control of these sectors equals economic power and cultural control, making the average person in México even more powerless over their lives and environment. Once the delight that the film bestows settles in, once viewers are filled with the wonders of México and start looking for airfare deals to the great Tenochtitlán (the historic Aztec capital), some may be inclined to take pause and ask, what happens when one scratches the surface of this amazing film?
The "Hecho en México" logo adorns goods and products meant for export that are still largely unaffordable by Mexican people, who on the average make $5.06 dollars per day. The economic pressures, along with growing political fears and restlessness are not addressed in Hecho en México. In an interview with NPR's Alt.Latino, the filmmakers are quick to point out that despite Azcárraga's funding, neither he nor Televisa placed any censorship, restrictions or parameters on the film. They mention that the film was Televisa's idea, as was the choice of director and producer. To his own credit, Bridgeman admits that he is not qualified to represent the complex and dire political conditions in México. Fainchtein has no excuse. According to their interview, the filmmakers' decision to make an apolitical film was in the interest of rekindling the joy of being Mexican for Mexican people. (Who knew the flame was out?) After thousands of years, and especially the last 500 bursting at the seams with of colonialism, dictatorships, revolutions and corrupt governments, the Mexican spirit is alive and well, though suffering. Art, culture and music continue to be the widest form of expression in and out of México. Given the resiliency of the Mexican people through history, one expects that the culture will outlive both Azcárraga and Slim. The dynamics of the production aspect of the film beg some questions; if there was really no censorship or restrictions placed on the filmmakers, if they really had carte blanche, and considering the caliber and political orientation of some of the writers and musicians involved, how can Hecho en México be such an apolitical film? Was it simply a lack courage on the part of Fainchtein and Bridgeman? The film is nevertheless a visual and audible treat. It goes without saying, the soundtrack is a must. It will be up to each individual viewer to assess where the lines are between culture and art, exports and propaganda.
Hecho en México plays at Bear Tooth on Monday, Oct. 13 at 7:30 p.m.Also available on Netflix.