January 30th, 2016
4:30pm

Delta Planetarium

Tickets: $5.00

“It plays like a dreamy, structurally fractured Richard Linklater homage to the French new wave.”

“The sincere performances, engaging music choices and confident direction all help confirm Ruizpalacios as a promising new voice in Mexican cinema.”

“As self-aware black-and-white, nouvelle-vague-tribute fever dreams go, Güeros is surprisingly beautiful, inventive and convincing.”

“Güeros” is a 2014 Tribeca Film Festival favorite of HHM Senior Programmer Jay Glysz and Festival Director Alan LaFave. We’re excited and proud to bring you a diverse schedule of films for the current series, and “Güeros” is a prize among films. RogerEbert.com says “Right off the bat, Alonso Ruizpalacios’ “Güeros” captures three superlatives from this reviewer: Best debut feature I’ve seen in the last year, best Mexican film in recent memory, and best (black and white) cinematography since Pawel Pawlikowski’s equally stunning but very different “Ida.””

A 93% rating from RottenTomatoes.com
4 out of 4 Stars – RogerEbert.com
A- Critic Rating – INdiewire.com
4 out of 5 Stars – The Guardian

Synopsis: Güeros is a road movie in which the travellers barely manage to leave town. A coming of age comedy which pays homage to the French new wave, it was filmed in black-and-white and in 4:3 ratio. Being a somewhat unusual film, Güeros begins with a rather different kind of explosion: a water bomb bursts in a baby stroller. It is thrown by teenager Tomás from a block of flats. Since the lad is clearly too much of a handful for his mother, she packs him off to stay with his big brother who is studying in Mexico City. It’s 1999. Fede, also known to his friends as Sombra, lives with Santos in a concrete pre-fab. They are currently striking against the strike which their fellow-students are organising at the Universidad Nacional Autónoma de México. Tomás has brought a cassette along with him; the tape is part of his father’s legacy and contains the music of Epigmenio Cruz. They say his songs moved Bob Dylan to tears, and that he could have saved Mexico’s rock music scene from ruin. When the trio learns that their idol is in hospital fading fast and alone, they set off in their rusty heap of a car to pay their last respects to this one-time rock star.

SUBTITLED IN SPANISH