Issues such as class divide, poverty, gang violence, and the theme of escape all serve to justify a new wave movement that highlights the real issues that are faced in Mexico. Novo cine Mexicano has allowed the national cinema to regain credibility moving away from stereotype to provide a more authentic depiction of Mexico and provide a platform and voice for them to convey important messagesīoth of the films Amores Perros (2000, Alejandro Gonzalez Iñárritu) and Sin Nombre (2009, Cary Fukunaga) deal with a wide variety of issues that are relevant to a broken Mexican society.
The success of the national cinema has allowed talent to work on bigger projects and collaborate with Hollywood, which means that their work can reach a mass international audience. Both groups began to function as an ensemble, which in turn meant that there was constant work and therefore a constant opportunity for development. In its emergence, Novo Cine brought a wave of new talent on the production side and this was matched by a similar wave of new talent on the acting side. Hollywood and the influence of European cinema, to a truly international Movement has developed from a purely Mexican base, through collaborations with Writers, through its cinematographers and actors, catapulting them to fame. That it has been populated almost completely by unknowns, from directors and New Mexican cinema was a movement, aįorm of ‘new wave’ that began in the early 1990s and is remarkable in the fact The reason Mexican cinema had produced films such as horror, wrestling, and action is because they were genres that were more accessible to an international audience but had failed to represent real the Mexico and Mexican issues.īut at the start of the 1990s, a new direction andĭynamism in Mexican film began to impact on the world scene, and Novo Cine The issue with early Mexican cinema was that it had harmed the national representation of Mexico as it had very much conformed to very limited stereotypes that were conveyed negatively by the western media. As a form of ‘national cinema’ Mexican output in the 60s, 70s, and 80s seemed nothing special as it had lacked a clear identity. Mexican cinema has produced some significant films across its century of production, though after its golden age ended in the 1950s these became fewer and fewer, as production turned towards low end (but profitable) market of low-budget westerns, horror movies, wrestling films, and sex comedies.