Cinemania
December 2008

Another Goal of the Charolastras
by Daniel Ritz

Rudo y Cursi

I have to confess that I am not a panbolero (someone who likes playing football [or "soccer" as it is referred to in the US]). I like watching the national team games and I enjoy the World Cup a lot, but I don't have a favorite team and there is little chance of me turning into a dad seated an entire Sunday watching football. Nevertheless, I think I understand why football awakens so many passions and why it captivates people. I also know that I'm a great exception, especially in a country like Mexico where football is a religion, with millions of faithful pilgrims that go out in the streets at every opportunity with their evangelist rhetoric. A speech made of faith that only distinguishes the devotees by the color of their shirt, and if on his way one crosses someone who prays to another god (that is to say, that is wearing the opposite shirt), the war begins and often ends with blood.

This is football for many, a religion and the reason to exist for others, but what's more, football is hope. We live in a country where each day it is more difficult to achieve a dream and more if this involves money, houses, cars, trips, women and fame. Perhaps not everyone dreams of this, but I would bet that at least every child of this country, regardless of social class or place of birth, has dreamed of being a football star some day. Of course the drug trafficker is also a hot bed of this dream, but I'd like to think that's not a suitable dream for those young of age.

Rudo y Cursi is about this dream, of being able to build a big house, dye one's hair without much shame, appear on TV and go to bed with the slut of the moment (up to falling in love with her). It also deals with two brothers "It is the story of two banana loaders who come from a humble family and arrive at a high urban, football, upstart, hyped, middle-class and in the middle of that is the drug dealing and power," says director Carlos Cuarón.

Rudo y Cursi is also a movie about Mexico, where Carlos Cuarón makes one very harsh, but simultaneously amusing critique on this nation, using football solely as a pretext in order show everyday characters that represent very mixed human beings with clarity who dance through this earth, sometimes under very complicated rhythms.

"Football is a reflection of society, the same way society is a reflection of football, " says Carlos while he explains that he decided not to film almost any football scene. "The only thing that's seen are the penalty kicks because that's really the only dramatic moment of football. It is a duel, like a Western, and the rest of football is not dramatizable."

Translated by Heather
Source / Español