Álex Perea in Zurdo
Zurdo
Director: Carlos Salcés
Studio: Altavista Films
Mexico, 2003
Review by Martin Boyd
A series of internationally successful Mexican films over the past twenty years has led critics to speak of a Nuevo Cine Mexicano (“New Mexican Cinema”), a resurgence in Mexico’s film industry after decades of decline. With filmmakers like Alfonso Cuarón, Alejandro González Iñárritu and Guillermo del Toro as some of its most outstanding representatives, the movement is characterized by its dark overtones, with themes related to violence (Amores Perros), the drug trade (Rudo y Cursi), sexuality (Y tu mamá también) and the frankly grotesque (Pan’s Labyrinth), themes that are all quite popular in the world of arthouse cinema, but that don’t leave much room for the production of family films. In this context, a film like Zurdo, by Mexico City director Carlos Salces, whose protagonist is an 11-year-old with a skill for playing marbles, seems like a ray of light in the darkness for parents who want their children to see a little Mexican cinema to break up the Disney monotony. Unfortunately, in spite of many points in its favour, in the end Zurdo falls prey to the same fascination for bleak themes from which so many films of the Nuevo Cine Mexicano seem to suffer, and thus disqualifies itself as an ideal film for the whole family to enjoy.
María Enriqueta Camarillo was a Mexican poet, short story writer, novelist and Translator who became one of the most important figures of Spanish-American modernism. In the years after the Mexican Revolution, her children’s books became extremely important as school text books in the context of the educational reforms of José Vasconcelos, and her importance in Mexican culture is reflected in the various libraries and schools that bear her name. She was also recognized outside Mexico, as in 1923 her novel El secreto (“The Secret”) won the Academie Francaise literary prize for best Hispanic female novel. 
