Y Tu Mamá También (2001)

I saw the film twice in 2 days (in original version), and I enjoyed it very much. It is titillating, at times hilarious, touching, candid, serious etc... Roller-coaster of emotions! It is the first film I have seen with Gael Garcia Bernal (Julio in this film), and boy is he great! I love the portrait the film draws of "Teenage Boys lust". The contrast with the mature and controlled Luisa is very interesting. Altogether, I'd recommend it warmly to anyone who enjoys road movies in general and great characters. Obviously it is better in the original, so if you understand a bit of Spanish, don't be put off by the subtitles (you end up reading them really quickly and still enjoy the images...).

Fmovies: After watching this movie, I looked at what a few critics had to say about it and I was shocked to see some of them refer to this movie as a "teen sex comedy". Wow, I didn't get that impression at all! Yes, the movie is infused with sex, and the two lead characters are horny teens, and there are quite a few comedic moments, but this is far from a teen sex comedy. It's treatment of the subject matter is real, for one thing, and backdrop of the Mexican countryside (and the director's detached observation's through third-person narration) bring some sobriety to the film. Be warned, though: there is a lot of sex, so not exactly a movie you're going to want to watch with the in-laws.

What a funny, sexy, sad, wonderful movie. Gael Garcia Bernal is destined for greatness. I was totally overwhelmed by the sexual tension between the characters. It is also a subtle, yet brutal, comment on Latin culture as far as sex is concerned. The reaction of the two boys after realizing they have made love is purely Latin fear. In another part of the world, that night of love could have been the new beginning of a wonderful friendship. Cuaròn, the director, redeems himself here, after the embarrassing "Great Expectations"

Y Tu Mamá También fmovies. Before you read any further I would like to strongly suggest that you go see this film. Do not read my review and just go see it. Find out where it's playing and buy yourself a ticket, in fact bring as many of your friends as you can, such as I did, and I promise you will all somehow have enjoyed it in a way films are rarely enjoyed. I do not feel that I will be able to describe exactly what I felt having seen this film, but if you would like to see my effort then read on.

This is the story of 2 teenagers, Tenoch and Julio, best friends their whole lives, which have indulged in many of life's guilty pleasures. We meet them at a point when their respective present girlfriends are leaving to study in Italy, leaving the 2 friends on their own for the summer. In the short time after their departure we see a whole new side of the boys. They masturbate to the thought of Salma Hayek, smoke weed, drink hard, and flirt with another man's wife. She is a beautiful older woman named Luisa at a wedding, who in turn is Tenoch's cousin's wife. They flirt with her and invite her to come with them to the fictional beach Heaven's Mouth. She is of course reluctant, but takes them up on the offer after her husband one night calls her to confess he cheated on her. This is the beginning of the road trip to the non-existent beach that will change their lives.

An unidentified man narrates the entire film, and when he speaks all goes silent in the scenes serving as a moving freeze frame if you will. He speaks the future of the lives we are watching these people interact with, and ultimately you begin to worry what will be of there own future. During this road trip to the fictional beach, all 3 main characters meet new and interesting people in new and interesting parts of Mexico. It makes them ponder life as their own past experiences begin to unravel in their intimate and personal conversations. Not before long the compounded sexual tension between them is in a way relieved, but to mixed consequences. All of the subtle characteristics of jealousy, anger, passion, naivety, become completely real.

These characters are so believably acted, that when you see these actors in interviews or in other films you'll almost feel cheated. Relationships like this simply don't seem like they can be cheated; yet through some form of skill and humanity every element comes together just right, never distracting or deterring you from the story.

Featured are some of the best-shot sex scenes ever (as one of my friends pointed out as a matter of fact). `Y tu Mama Tambien' finds a way of making all of it's moments feel intimate and genuine, yet never in bad taste. Alfonso Cuaron makes it difficult for us to believe what we are seeing at times is only movie, which serves this tale all the more. The shaky `Road Film Style' cinematography used here is perfect in capturing this uncommon, and unbalanced relationship. You are kept on your toes at all times, expecting something or someone to break. The dialogue is fresh and funny, the kind you just know cannot be faked, that in fact somewhere somehow the writer or actors uttered those phrases. I am convinced that a great majority of this film was improvised, whatever the case may be.

This film is obviously more than flesh, more than experimenting youth. Take some of your favorite moments from mediocre mainstream movies like `American Pie 1 and 2' and remove all the slapstick value. You will realize that there is much more there than you ever s

In many ways Alfonso Cuaron's "Y Tu Mama Tambien" reminds me of the desolation theme of Bernardo Bertolucci's "Ultimo tango a Parigi" (1972) and the deceptive perspective of Michelangelo Antonioni's "L'Avventura." (1960).

Raging post-adolescent hormonal drives seem to propel Julio and Tenoch forward, with little else of substance to account for. Likewise, Luisa's motivation seems more despair- than romance-driven. Thus, the trio's trek in search of the idyllic Boca del Cielo is reminiscent of the forlorn lovers' quest for emotional fulfillment in the Bertolucci film.

Comparison with the Antonioni opus stems from Cuaron's script seemingly being about a carefree, liberated trio on a journey for fun, when in fact, it's really about escape from their own worst "enemies"--themselves.

After a particularly talky beginning (complete with abundant narrations) the film settles in on its main theme, and the dialogue becomes more pointed. While the camera work is generally appropriate, Cuaron tends to rely on long- to medium-shots, with nary a close-up.

The result of this is a somewhat distant enactment, in which the viewer is held a bit at arm's length from the action. One seldom gets close enough to become intimately acquainted with these people. In the end, one is touched by important revelations which are crucial to understanding that which has transpired. Yet, the viewer's emotional involvement is perhaps less than what it might have been, given closer perspectives.

This film obviously impressed many people, and I must agree the work by the principles is uniformly solid. This is a "last tango" which has made its mark as a distinctive film work.

This is a very different Mexican film. One in which you can really appreciate the sure hand of director Alfonso Cuaron working at the top of his form with an excellent group of actors, which proves that when someone of this magnitude decides to make a good film about interesting characters in contemporary Mexico, one can expect a fine finished product.

Alfonso and Carlos Cuaron have created people and situations that are very believable. The script is fine. "Y tu mama tambien" is about awakening and about reaching maturity. It's a great Mexican Road movie done with a lot of care.

The Cuarons shows us a slice of life that could happen, not only in that country, but one that is universal. Producers and directors in Mexico should see this film and learn how to do future movies, even though the popular taste runs into the horrible soap operas, popular in Mexican TV. The Cuarons have turned out a magnificent script and have turned away from those popular melodramas that are a staple of the film industry of our neighbor to the South.

Gael Garcia Bernal, who was excellent in Amores Perros, here demonstrates once again what an actor can do, given the right scenario and obviously a lot of freedom to give life to Julio. Diego Luna is also very credible in his portrayal of the son of a rich man on the road to discover himself. Obviously, the underlying theme is that both like each other, but it never comes out, as they both are so closeted and think themselves of being straight in such a macho atmosphere.

Maribel Verdu plays the pivotal role of Luisa. She sees right through the boys, but has to play the part since they are the salvation from her miserable marriage. Here as in other Spanish films, she lets us know she is an actress who likes to take chances. This was the right vehicle for her and she takes advantage of a role that makes her outshine the rest of the cast.

One can only hope more interesting things coming from this director and Mexico's gain is our loss, as it's obvious Mr. Cuaron's incursion into American films have not been as satisfactory as his work here.