Talk:Y Tu Mamá También

From Wikipedia, the free encyclopedia
Jump to: navigation, search

Two versions?[edit]

Does anyone know if there are two versions of this film? The ending described here is nothing like what I've seen here in the UK, which ends with the narrator telling us that the trio parted ways when Luisa stayed at the beach and never saw each other again. Certainly no meeting by chance a year later. I'd edited as such, with an edit summary rashly describing the previous as 'entirely false', because on checking up it seemed the user who added the description regularly blanks their talk page and makes strange additions to articles. Worldtraveller 00:52, 19 Mar 2005 (UTC)

There's several different versions, apparently. See here. It does seem very strange of them to cut off the epilogue scene, because it's utterly unobjectionable, that's when Luisa's cancer is revealed (suppose they did that in a VO in the version you saw?), and it's well acted and directed: very poignant in a you-ain't-ever-going-to-be-17-again kind of way. "La cuenta. [Telón]" Hajor 01:15, 19 Mar 2005 (UTC)
Yes, the voice-over fills in all the post-boca del cielo detail in the version I've seen. You're left thinking neither Julio or Tenoch knows what happened to Luisa, or each other. A meeting in a cafe a year later seems really wrong to me! I'll try and find more info about what versions were released where, would be worth mentioning in the article. Worldtraveller 01:27, 19 Mar 2005 (UTC)
I saw the movie lastnight and got it through Blockbuster's dvd in the mail service. The meeting in the cafe takes place after the voice-over descriptions. The meeting is actually set-up by the voice-over. At the end of the cafe scene Tenoch and Julio are saying stuff like "see ya later" and another voice-over says "it was the last time they ever saw each other" or something like that. Actually, there is a major plot hole without the cafe scene because earlier in the movie (in my version anyways), Luisa is on the phone with her estranged husband and is trying to calm him down about her leaving. She says she had been planning to leave for a while and that his sleeping around had nothing to do with the decision. He asks what caused her to leave and she said he would understand soon enough. There would be no further explanation as to why if the cafe scene is cut. Also, speaking of different versions, the plot summary says something about Tenoch and Julio kissing each other during the three-some with Luisa. In my version, they never had contact with each other (kinda disappointing actually). They only woke up lying naked next to each other, but there was no actual contact between them. Also, the article says the movie was rated NC-17 in America, and I think my version was only R. The Ungovernable Force 01:37, 9 March 2006 (UTC)
There's an R rated AND an unrated version in the U.S. You should find the unrated version; I'm sure a lot was removed for the R version (including very definite contact between the two male stars)BlackCoffee
The one I bought was a UK certificate 18 with a running time of 101 minutes. It contained the café scene and some rather passionate kissing between the two male stars (woo!). No one I've spoken with in the UK appears to have seen a version different to the one I have. 22:07, 14 May 2006 (UTC)
Same goes for my UK version DVD...would be nice if there was a version which showed gay sex as explicitly as straight though... Saluton 03:29, 21 October 2006 (UTC)
Sounds good. If it's any help, my version is a (legal) Mexican DVD, which says approx 115 mins running time. But I recall seeing the final "one year later" scene on a rented VHS, too (can't remember if I even saw the film at the cinema). Hajor 01:42, 19 Mar 2005 (UTC)

I wasn't aware the film were censored outside Mexico. The original version does feature a french kiss between Gael García (Julio) and Diego Luna (Tenoch) in the threesome scene. Mexican gossip reporters rarely fail to mention this scene when they interview them, much to their dismay. The original uncut movie also includes a final conversation among them (the cafe scene) where they catch up on things that ocurred since they stopped seeing each other, such as a mutual friend coming out of the closet (a non appearing character mentioned earlier in the movie), and Luisa's demise because of her cancer. Without those two moments, the movie's grossly incomplete. Oh, and Saluton, you might want to check out Bad Education. Gael García Bernal plays a promiscuous gay character in that movie. Corrigiendo nomás - unsigned user (22/02/07)

Cult film?[edit]

Could someone explain why this film is categorized as a cult film? In America, it was a mainstream foreign film, and I observed no subsequent cult following. Jonathan F 19:34, 14 April 2006 (UTC)


Having read through the article, I don't see the advertisement thing... The synopsis certainly doesn't, and anything that hints at advertisement seem to all be clearly marked as coming from some other source. The only bit I could see being an issue is the "universally acclaimed as an extremely erotic film, filled with depth and unspoken meaning." Does this qualify as advertising though? Lliamm 22:10, 14 May 2006 (UTC)

Wow, how lucky. I wasn't even watching this page, but I somehow found myself back here. I think the line you quote certainly reads as an advertorial statement and should probably be removed. Jonathan F 23:11, 14 May 2006 (UTC)
Jonathan F, you added the {{advert}} tag a month ago, but with no hint as to why you thought it merited it. It would be really helpful if you could explain why you thought it sounded like advertising so that other editors know what you object to. If it's just the one line, you could simply remove the line or reword it. Worldtraveller 23:49, 14 May 2006 (UTC)
I've fixed the objectionable line. Jonathan F 01:55, 15 May 2006 (UTC)

Plot and categorization[edit]

The film is not a coming-of-age story and it is not a road movie, it is a theme movie about live: With the revelation of Luisa's cancer situation suddenly everything falls into place, like the narrated side stories, her (narrated) remark when parting, the extraordinarily "talkative" backdrop, Luisa's remark regarding Mexico, and so on (also Luisa's crying, which appears a bit out of role without the cancer, and much more). The categorization in the article might belong to a crippled version without the ending (which probably was removed simply because it is sad). -- Tomdo08 (talk) 01:36, 23 March 2011 (UTC)

LGBT-related film?[edit]

Can someone please explain why this film is "LGBT-related"? thanks קולנואני (talk) 12:06, 14 May 2011 (UTC)

It's debatable – the meanings of works of art often are – but as some see it, the relationship between Julio and Tenoch – with their closeness despite socioeconomic differences, having sex with each others' girlfriends, and their eventual sexual encounter together – includes an unconscious mutual attraction, which they are unable to accept when it's finally brought to the surface. In other words, they're both bisexual, but can't admit it. -Jason A. Quest (talk) 13:40, 10 May 2013 (UTC)

Self-contradictory sentence[edit]

One sentence reads:

"It was released without a rating in the U.S. because a market-limiting NC-17 was unavoidable."

Absolutely, right, for sure. The NC-17 rating was unavoidable, yet it was avoided. That makes a lot of sense. (Just kidding. It makes no sense at all.) It would be much better for Wikipedia editors to think about whether what they have written makes sense before clicking on "Save page".

Added Information[edit]

On Censorship Controversy[edit]

I added information on the film's censorship controversy in Mexico. This information was not available on the original Wikipedia article, and is important to add because it is related to the reception of the film in its home country. This shows how revolutionary the film was in Mexico because of its content, thus exposing how even though Mexico is a democratic country, it is still heavily influenced by politics in the sectors that should be free of government control. Lola polola (talk) 21:22, 7 December 2014 (UTC)— Preceding unsigned comment added by Lola polola (talkcontribs) 21:14, 7 December 2014 (UTC)

On Casting[edit]

I added information on the film's casting process. It reveals the development process for the film, particularly how Cuarón wanted his actors to foster a candid performance so his film could develop with spontaneity. This was the director’s agenda throughout the production process. Lola polola (talk) 21:24, 7 December 2014 (UTC)

On Development[edit]

This information was not available on the original Wikipedia article. I added this information because I found it was significant in clarifying that Y tu mamá también was not a Hollywood film made with Hollywood production techniques. The current article gives the impression that the film was created with Hollywood production techniques. Lola polola (talk) 00:05, 8 December 2014 (UTC)

On Filming and Production[edit]

This information on filming and production reveals the director’s agenda to develop the film candidly, which was not available on the original Wikipedia article. His desire to create the film with spontaneity and minimal equipment stresses how much he did not want to over-plan and overwhelm the filmmaking process; which was his experience when he made movies in Hollywood. The filming and production uncovers Cuarón’s desire to reject Hollywood production techniques. Lola polola (talk) 00:05, 8 December 2014 (UTC)

On Distribution and Finance[edit]

The article had little information on box-office success and film budget. I wanted to add more information on the domestic and transnational success of the film because it reveals how much support the film had from external distribution companies as well as domestic. It is also important to acknowledge that a Mexican production company funded the film, not an American one, showing how self-sufficient the Mexican film industry can be. This information also shows how the film gained success through impressive marketing campaigns in Mexico with the help of a Mexican production company. Lola polola (talk) 00:05, 8 December 2014 (UTC)

On Road Film Genre[edit]

The Wikipedia article does not articulate the significance of the road film genre in Y tu mamá también and how it is used to depict the Mexican ethos through a lens of political exploration. It is important to state that Cuarón transformed the 20th century revolutionary Latin American cinema by not completely rejecting it, but by synthesizing it with the pleasure of Hollywood commercial cinema to investigate Mexican nationalism at the start of the 21st century. Lola polola (talk) 01:00, 8 December 2014 (UTC)

On Image for Distribution and Finance section[edit]

Added image that depicted the original Mexican marketing campaign for the film. Different from American theatrical release poster. Lola polola (talk) 02:46, 8 December 2014 (UTC)