Segment 1: A Christmas Dinner (Una cena de navidad)
The first segment of Pubertinaje 1971 is directed by Pablo Leder, who was a prolific screenwriter and director of Mexican cinema. The segment tells the story of a dysfunctional family that gathers for a Christmas dinner. However, each member of the family has a secret fantasy that they wish to escape to. The father is a closeted transvestite who wants to wear women's clothes and makeup. The mother is a frustrated actress who wants to perform on stage. The older son is a homosexual who wants to have sex with another man. The daughter is a rebellious singer who wants to destroy the religious icons of the church. The younger son is a psychopath who wants to kill everyone with a knife.
The segment is a dark comedy that satirizes the hypocrisy and repression of the Mexican society in the 1970s. It also criticizes the traditional values and norms of the family, religion, and sexuality. The segment uses exaggerated and absurd situations to create humor and contrast with the reality of the characters. The segment also features some musical numbers and references to popular culture, such as The Beatles, Marilyn Monroe, and Alfred Hitchcock.
Segment 2: Game of Mirrors (Juego de espejos)
The second segment of Pubertinaje 1971 is directed by José Antonio Alcaraz, who was an experimental filmmaker and photographer. The segment tells the story of two young classmates who kiss on a picnic. However, their innocent act is interrupted by the girl's brother, who accuses them of being immoral and sinful. He then forces them to enter a house full of mirrors, where they are confronted by their own reflections and images. The mirrors distort their perception of reality and themselves, as they experience hallucinations, nightmares, and transformations.
The segment is a psychedelic and surrealistic exploration of the self and the other. It also reflects on the themes of identity, sexuality, and morality in the context of adolescence and puberty. The segment uses visual effects, animation, and editing techniques to create a distorted and fragmented narrative that challenges the viewer's understanding of what is real and what is not. The segment also features some references to art history, such as Salvador Dali, Rene Magritte, and Hieronymus Bosch.
Segment 3: Tetrahedron (Tetraedro)
The third segment of Pubertinaje 1971 is directed by Luis Urias, who was a cinematographer and director of Mexican cinema. The segment tells the story of a very fat man who faces his girlfriend's longing for love. He tries to satisfy her sexual desires by using various objects and devices, such as balloons, dolls, machines, and even animals. However, he fails to please her or himself, as he suffers from impotence, insecurity, and guilt. He then decides to undergo a surgery that will reduce his weight and increase his potency.
The segment is a tragicomic and grotesque portrayal of the human condition and its relation to love and sex. It also comments on the themes of body image, self-esteem, and consumerism in the modern society. The segment uses exaggerated and absurd situations to create sympathy and disgust for the protagonist. The segment also features some references to science fiction and horror genres, such as Frankenstein, Dracula, and King Kong.
Reception and Legacy
Pubertinaje 1971 was released in Mexico in 1971 with an R rating for its explicit content. The film received mixed reviews from critics and audiences alike. Some praised its originality, creativity, and daringness. Others criticized its vulgarity, obscenity, and meaninglessness. The film was also banned or censored in some countries, such as Spain, Argentina, and Brazil. The film was considered a cult classic by some fans and a trashy flop by others.
The film had a lasting impact on the Mexican cinema and culture, as it influenced many filmmakers and artists who followed its footsteps. The film also contributed to the development of the experimental and underground cinema in Mexico, as well as the new wave of Mexican cinema in the 1990s and 2000s. The film also became a source of inspiration and reference for many works of art, literature, music, and theater that dealt with similar themes and styles.
Availability and Quality
Pubertinaje 1971 is not widely available or accessible for the general public, as it has not been officially released on DVD or streaming platforms. The film can only be found on some rare VHS copies or online archives. The film also suffers from poor quality and preservation, as it has not been restored or remastered. The film has low resolution, faded colors, distorted sound, and missing scenes. The film also lacks subtitles or dubbing for non-Spanish speakers.
However, despite its scarcity and deterioration, Pubertinaje 1971 remains a valuable and unique piece of cinema history that deserves to be seen and appreciated by more people. The film is a testament to the artistic and social vision of its directors, who dared to challenge the conventions and expectations of their time. The film is also a reflection of the Mexican reality and identity, as well as a universal expression of the human nature and its contradictions.
Conclusion
Pubertinaje 1971 is a controversial and experimental film by three Mexican directors: José Antonio Alcaraz, Pablo Leder, and Luis Urias. The film consists of three segments that explore the themes of sexuality, identity, and fantasy in the context of adolescence and puberty. The film was considered provocative and innovative at the time of its release, as it depicted scenes of transvestism, incest, violence, and surrealism. The film also featured some of the members of the Jodorowsky family, who were known for their involvement in avant-garde cinema.
In this article, we reviewed each segment of Pubertinaje 1971 and analyzed its artistic and social significance. We also discussed the reception and legacy of the film, as well as its availability and quality. We hope you found this article helpful and informative. If you have any questions or feedback, please feel free to leave a comment below.
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