Introduction
The late 1990s Mexican political unrest serves as the backdrop for the film’s examination of class, sexuality, and mortality issues. By adopting and cannibalizing titles, character types, and narrative techniques usually associated with the conservative, traditional film, Y tu mamá también investigates how national identity is constructed in Mexican cinema. The usefulness of the microelements in illustrating the boundaries between personal/private experience and the public sphere will be examined in this article, along with the assertion that Julio and Tenoch are mainly unaware of what is happening. In addition, the cinematography and non-diegetic sound of the two scenes will be examined to bring this out. The film’s conclusion will also be addressed, focusing on whether it follows the conventional 3-act and 5-act narrative patterns by resolving the conflict present in the film.
Cinematography and non-diegetic sounds
It is immediately apparent in the movie that Julio and Tenoch are oblivious to their surroundings, self-absorbed in their own worlds, and obsessed with their own wants and needs. Through the use of a roaming camera and voiceover, the cultural and social backdrop of the story is communicated to the spectator. Beyond the scope of the story, but equally important, the non-diegetic sounds and the cinematography gives us access to an unprecedented level of knowledge by privileging us with details as to the character’s inner thoughts and emotions, as well as events that have occurred or even those that will occur beyond the diegetic time and space (Amidon, 2022).
The camera pans around the room, revealing a grand piano, elegant artwork, and a huge dwelling, depicting the lavishness of Tenoch’s surroundings. Tenoch is shown holding a phone in the living area of his large, elegant home, which has modern furnishings and artwork on the walls. He is seated on a plush sofa as he waits for the maid, clad in traditional maid attire and with her hair tied in a neat bun, to bring him a sandwich. She seems to be of poor descent, from her dress and her choice of hair style. The room has warm, bright lighting that gives off a cozy and relaxing ambiance. When the camera switches to Julio’s perspective, it reveals him seated in a small, crowded space with peeling wallpaper and a malfunctioning fan. The harsh, gloomy lighting buries his face in deep shadows, which gives off an uncomfortable, uneasy vibe. The camera pans about the Zapatas’ three-room apartment as Julio talks on the phone to Tenoch. It reveals the cramped quarters, inexpensive furnishings, and drab buildings as a “middle-class neighborhood. The strong and obvious contrast between the two places of residence emphasizes the difference in social standing and income between the two characters. The camera technique also ideally draws attention to the difference between the two characters’ inner lives and the public displays of wealth and prestige that are part of Tenoch’s environment.
The non-diegetic sound of happy, carefree music is audible as the camera pans around the frontage of the luxurious home where Tenoch is residing. This music draws attention to Tenoch’s opulent surroundings and shows his carefree, fortunate lifestyle. The only sounds that are audible when the camera pans to Julio’s humble home, however, are the humming of the refrigerator and the voices of Julio’s family members discussing in the distance. This emphasizes Julio’s modesty and simplicity, highlighting the sharp difference between the two characters.
The scene where Julio and Tenoch explore a small mountain town is yet another instance of how well the microelements portray the boundaries between personal/private experience and the public sphere (Admin, 2020). The beginning of the scene shows them cruising on their way to the mountain, with smooth and fluid camera movement. Later, the boys stroll through the busy market with a carefree demeanor as the camera focuses on the residents’ faces. In contrast to the lads’ calm demeanors, these shots are frequently taken from a low angle, making the people look bigger and more imposing. The delipidated town is a stark reminder of the gross indifference between the two classes and how one may be oblivious to the other’s sufferings.
An eerie guitar playing in the background adds to the scene’s overall discomfort without becoming a diegetic sound. The melancholy soundtrack creates an atmosphere that highlights the contrast between the lads’ happy, carefree attitude and the challenging situations of those around them. We are better able to comprehend the scene because of the emotional ambiance this music produces. At this point, the focus of the movie switches from the personal to the political, emphasizing the stark differences in Mexican society.
The film’s ending
Tu mamá también may be the ultimate example of an unsatisfactory conclusion. A voiceover narration that describes the characters’ outcomes concludes the movie. We find out that Tenoch and Julio had split up and that Luisa passed away from cancer (Bradshaw, 2002). The camera focuses on the passing scenery as Julio travels down an empty highway in the last shot. Non-diegetic music evokes a sense of sorrow and reflection, and the overall result that transpires is reflection and introspection. The problems are resolved in the movie’s climactic scene. The guys are forced to face the realization that their longing for Luisa is inherently selfish and damaging when the truth about her condition is revealed. The conflict in the movie is resolved, however, not in the way one may expect.
The problems that are handled are chaotic and intricate, reflecting the chaotic and sophisticated life that exists in Mexico, as opposed to being nice and tidy. The conclusion is both satisfactory and unsatisfactory, providing the audience with a feeling of the protagonists’ personal development and emotional progress as well as a realization of the still-ahead hardships. By providing an unclear and complex resolution to the problems that keep developing throughout the movie, it subverts conventional narrative structures and gives the audience a greater appreciation for the characters and the setting they live in.
Conclusion
With the help of a wandering camera and commentary, the story’s social and cultural backdrop is made clear to the audience despite Julio and Tenoch’s general ignorance of what is going on around them. The microelements in the movie very well represent the distinctions between personal/private experience and the public sphere. This is ideally illustrated in two scenes that have been discussed in the context. The Non-diegetic sound and cinematography are used to elaborate on the distinction prescribed above efficiently. “Y Tu Mamá También” has an impactful ending that wraps up a movie that is both a personal drama and a bigger social statement. Despite not following the traditional 3 or 5 narrative sequences, it provides a breathtaking conclusion to the conflicts in the film, leaving audiences both wanting more answers and eerily satisfied.
References
Admin, J.L. (2020) Y Tu Mama tambien – story – analysis: Jotted lines, Jotted Lines | A Collection Of Essays. Available at: https://jottedlines.com/y-tu-mama-tambien-story-analysis/ (Accessed: April 10, 2023).
Bradshaw, P. (2002) Y Tu Mama tambien, The Guardian. Guardian News and Media. Available at: https://www.theguardian.com/film/2002/apr/12/1 (Accessed: April 10, 2023).
Amidon, A. (2022) ‘y tu mamá también’: A eulogy to adolescence, Film School Rejects. Available at: https://filmschoolrejects.com/y-tu-mama-tambien-eulogy-to-adolescence/ (Accessed: April 10, 2023).
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