This summer film series explores one of the contemporary cinematographies that, although very interesting, is among the least distributed in Europe. Midway between new auteur voices and the poetics of documentary, this series shows how film responds to a situation of provisionality and how it imagines the future from the vantage point of uncertainty.
The audiovisual series Imminent Mexico looks at how a generation of filmmakers deals with a present that is provisional, that has major changes looming, and it reveals how an uncertain and immediate future is imagined, due to the difficulty of foreseeing the long term. The twelve films comprising the program, by filmmakers such as Carlos Reygadas, Nicolás Pereda, Juan Carlos Rulfo and Michel Lipkes, and others, offer a critical commentary of the country's current situation, while at the same time exploring a range of themes, forms and styles that in recent years have given Mexican cinema considerable international recognition. The films programmed transit between purely documentary strategies to the resources used in fiction, including a dose of the irreverent spirit typical of experimental film, but most of all they show the blurring of obsolete frontiers and a marked hybridisation between genres.
This new cinema, identified with a type of filmmaking that can be described as 'on hold', favours the creation of atmospheres over orthodox narratives, presenting palimpsestic, surreal or minimalist narrations and chaotic and desolate landscapes that reflect the tacit violence permeating everyday life. The uncertainty of the future has prompted various filmmakers to focus on people's interior lives, subjective experiences and family dynamics. Their work invites viewers to journey through fragmented territories, to inhabit parallel worlds that point to the strange geography formed by migration circuits and organized crime, or to follow subjects who are lost in thought, absorbing the uncertain present and being pulled by the undertow of the future. The detachment of this contemplative cinema evokes the state of alienation of a country in which a perpetual state of alert has become the norm; the visceral nature of a cinema 'on hold' documents the bodies that dramatize social deterioration while the comedy of the absurd reminds us that the end of the world responds to a number of different logics. It can be dramatic, it can be a slow fade to black or it can be the indication of a liberating optimism.
In this respect, the selected films offer glimpses instead of exact visions, they produce distorted refractions more than precise reflections or mirror images of reality; some films intentionally lose their focus, showing only glimmers, fragments, mirages; they reveal some aspects of the world while simultaneously concealing others; in short, they observe reality, assuming its inevitable aura, a key aspect of an aesthetic and a cinema of imminence that is having a considerable impact on contemporary audiovisual culture.