INTERNA
TIONAL SPOTLIGHT
:
Documenting Mexico
nte
bringing documentaries into the commercial theater arena,
and on going to cities where films like this are never
shown.” Five years after the first Ambulante tour hit the
road, Canana Films has distributed several independent
features in Mexico. And this year, the ambulatory festival
added another hat to its rack of many trades, in the
x Mexico’s cultural
form of substantial post-production grants to Mexican
some 60 different
documentaries.
held together only
lm festival—and road
Not surprisingly, the heart of the festival is to be found in
its domestic selections—many of them made by first-
time directors, for all the obvious reasons. “A lot of the
nventional film
submissions are from people who’ve never made a movie
a couple of months,
before,” says Fortes. “People just have a story they want
ties across Mexico,
to tell. And our idea was always to create a channel of
museums, universities,
expression for films and filmmakers that might be political
bring filmmakers along,
or social issue-oriented. Many of the subjects in these films
ots, and you never
are never discussed in the media.
“Mexico remains a country where everything is controlled
by very few people—including the media,” Fortes
continues. “People in Oaxaca learn very little about things
that happen in Tijuana, and vice versa, and the result is
that each region is sort of a bubble onto itself. So part of
the reason for Ambulante was to mobilize public opinion
throughout the country, and disseminate knowledge about
issues that the media otherwise are happy to ignore.”
— Sindre Kartvedt
Sindre Kartvedt is an L.A.-based writer, as well as a programmer
for the Kosmorama International Film Festival, which takes
place in his hometown of Trondheim, Norway.
'%%.Adh6c\ZaZh;^ab;Zhi^kVa 131
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