freeOK概要：Luis Alcoriza is best known for his script collaboration with his Spanish compatriot Luis Bu ? uel, and he has participated in some of Bu ? uel's more interesting Mexican films. But in his later years, Alcoriza became one of the main screenwriters of modern Mexican cinema. After 1962, he wrote many important films (most of which he directed himself), which were a combination of his unique noisy entertainment and sharp social criticism. His analytical unit is the group, especially during his post Bunuel period, which he used to symbolize the group in Mexican society. This theme was already evident in Manuel's film "Los olvidados" (a street children's gang in Mexico City). Similarly, there are bourgeois guests among the exterminators of El á ngel, who are mysteriously trapped in their masters' living rooms, different refugee groups lost in the jungles of La Mort en ce Jardin, as well as political prisoners, bureaucrats, politicians, and followers in the fictional South American dictatorship of La Fi è vre Monte à El Pao. However, Bunuel's goal is existentialism, surrealism, and absurdism, while Alcoriza's goal is satirical. Bu ? uel's films are a bleak and transcendent commentary on the human animals he observes, and their undeniable dark side is due to Bu ? uel's view of redemption not being included. Alcoriza's viewpoint is more hopeful. His script ridicules humanity (especially the humanity portrayed in the Mexican national character), but like all true satirists, his criticism is aimed at improving humanity. In Alcoriza's cinematic universe, redemption is a goal worth pursuing and the only purpose worth pursuing. When asked why he chose to write and direct the semi documentary film 'Tarahumara', Alcoriza said:; This movie tells the story of an isolated Mexican Indian tribe struggling to survive in a remote area of Chihuahua; I don't agree with the world I have to live in because I don't like our society. Today we are trying to reach other planets, such as the moon and Mars. The most fundamental issues - hunger, justice, (human) dignity - have not yet been resolved, "but Alcoriza believes that this situation may change. Therefore, his work reflects healthy indignation rather than Manuel's usually painful resignation. His two more outstanding scripts (both directed by him) are Gabriel Garc í a M á rquez's" Presagio, "which tells the story of a village's residents who begin to believe they are living under an evil spell, and" Mec á nica nacional, "which tells the story of a group of racing fans who travel to Acapulco to watch Mexico. On the way to the end of the city racing competition, they were trapped together for a day and a night due to traffic congestion. In these and other Alcoriza films (Tlayucan, Tiburoneros, El oficio m á s Antiguo, Las fuerza vivas), he filled the vast canvas with a large number of characters, successfully creating a Rabelais style cross-section of Mexican society.
Luis Alcoriza is best known for his script collaboration with his Spanish compatriot Luis Bu ? uel, and he has participated in some of Bu ? uel's more interesting Mexican films. But in his later years, Alcoriza became one of the main screenwriters of modern Mexican cinema. After 1962, he wrote many important films (most of which he directed himself), which were a combination of his unique noisy entertainment and sharp social criticism. His analytical unit is the group, especially during his post Bunuel period, which he used to symbolize the group in Mexican society. This theme was already evident in Manuel's film "Los olvidados" (a street children's gang in Mexico City). Similarly, there are bourgeois guests among the exterminators of El á ngel, who are mysteriously trapped in their masters' living rooms, different refugee groups lost in the jungles of La Mort en ce Jardin, as well as political prisoners, bureaucrats, politicians, and followers in the fictional South American dictatorship of La Fi è vre Monte à El Pao. However, Bunuel's goal is existentialism, surrealism, and absurdism, while Alcoriza's goal is satirical. Bu ? uel's films are a bleak and transcendent commentary on the human animals he observes, and their undeniable dark side is due to Bu ? uel's view of redemption not being included. Alcoriza's viewpoint is more hopeful. His script ridicules humanity (especially the humanity portrayed in the Mexican national character), but like all true satirists, his criticism is aimed at improving humanity. In Alcoriza's cinematic universe, redemption is a goal worth pursuing and the only purpose worth pursuing. When asked why he chose to write and direct the semi documentary film 'Tarahumara', Alcoriza said:; This movie tells the story of an isolated Mexican Indian tribe struggling to survive in a remote area of Chihuahua; I don't agree with the world I have to live in because I don't like our society. Today we are trying to reach other planets, such as the moon and Mars. The most fundamental issues - hunger, justice, (human) dignity - have not yet been resolved, "but Alcoriza believes that this situation may change. Therefore, his work reflects healthy indignation rather than Manuel's usually painful resignation. His two more outstanding scripts (both directed by him) are Gabriel Garc í a M á rquez's" Presagio, "which tells the story of a village's residents who begin to believe they are living under an evil spell, and" Mec á nica nacional, "which tells the story of a group of racing fans who travel to Acapulco to watch Mexico. On the way to the end of the city racing competition, they were trapped together for a day and a night due to traffic congestion. In these and other Alcoriza films (Tlayucan, Tiburoneros, El oficio m á s Antiguo, Las fuerza vivas), he filled the vast canvas with a large number of characters, successfully creating a Rabelais style cross-section of Mexican society.展開(kāi)
