https://vo.rs/tags/mexican-cinema/Latest from the Mexican Cinema desk at vo.rs.Hugo -- gohugo.ioenThis work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.Thu, 19 Mar 2026 13:00:00 +0000https://vo.rs/screen/guillermo-del-toro-the-monsters-are-the-good-guys/<p>There is a moment in almost every Guillermo del Toro film where the camera has to decide who it loves, and it always loves the wrong thing. The pale amphibian in the tank. The faun with the goat legs. The vampiric grandfather clinging to a gold beetle that grants him eternal life and a terrible thirst. Del Toro points the lens at the thing the audience has been trained to flinch from, holds it there a beat too long, and dares you to keep flinching. Thirty years and a shelf of statues later, that is still the whole trick, and it is still working.</p>Thu, 19 Mar 2026 13:00:00 +0000https://vo.rs/screen/santa-sangre-jodorowskys-circus-of-guilt-and-armless-mothers/<p>Most directors make their strangest film young and spend the rest of their careers apologising for it. Alejandro Jodorowsky did the opposite. <em>Santa Sangre</em> (1989) arrived when he was sixty, nearly two decades after the acid-Western notoriety of <a href="https://vo.rs/screen/el-topo-jodorowsky-and-the-birth-of-the-midnight-movie/">El Topo</a> and the alchemical excess of <a href="https://vo.rs/screen/the-holy-mountain-jodorowskys-alchemical-provocation/">The Holy Mountain</a>, and it is the film where he finally discovered what all his imagery had been reaching for. The dream logic is intact. The provocations are intact. What is new is a story with a spine and characters you are asked to love, and the collision of those two registers produces the best film he ever made.</p>Tue, 02 Jan 2024 12:00:00 +0000