Another Mexican director residing in the US at the time was Guillermo Del Toro, a close friend of both González Iñárritu and Cuarón. This was his second spell in Hollywood; having previously worked there in the 1990’s on Mimic (1997). However, Del Toro’s first Hollywood production was an unpleasant experience, due to the demands of the big studios involved. Consequently, he returned to Mexico, where he had total control over his projects. In 2001, he wrote and directed the much lauded El Espinazo del diablo (The Devil’s Backbone) (2001), an inventive and atmospheric ghost story set in Spain, during the Franco era. After El Espinazo del diablo, Guillermo Del Toro decided to give Hollywood a second chance and his return to the US proved to be very fruitful.

The first project on his return was the comic book adventure Blade II (2002). This was a much smoother production for Del Toro and the movie became very successful, grossing an estimated $155 million worldwide. He followed Blade II with another comic book movie, the wonderfully entertaining Hellboy (2004). The success of Blade II and Hellboy sealed Guillermo Del Toro’s place in Hollywood, but he was soon to revisit his native Mexico to present us with his most accomplished movie to date.

The impact of Mexicans on the international stage was reinforced that same year, when Gael Garcia Bernal gained world wide recognition for his performance in the critically acclaimed road movie Diarios de motocicleta (The Motorcycle Diaries) (2004), from Argentina. He then honed his skills in Spain, with a starring role in La Mala Educación (Bad Education) (2004), working with Spanish maestro Pedro Almodóvar. Over the next couple of years, he continued his world tour with the US production The King (2005) and the surreal French comedy La Science des rêves (The Science of Sleep) (2006), enthralling audiences at each destination with his skilled performances and charming demeanour. Also, 2006 saw him reunite with his Amores Perros director Alejandro González Iñárritu. The result of their reunion was Babel (2006).

Babel was Alejandro González Iñárritu’s third feature movie and by far his most ambitious. It is a sensitive exploration of the difficulties of communication in the modern world and the sense of vulnerability that can result from it. The trilogy of human suffering is a resounding triumph and an essential experience for any movie fan.

Babel was an international phenomenon, revered by the critics and public alike. As a result, it has grossed an estimated $100.4 million to date and has received 74 nominations worldwide, including 7 Oscar nominations in most of the major categories. So far, it has won 15 awards, most notably Best Director and Best Film at the 2006 Cannes Film Festival. However, there are still many awards ceremonies to come and Babel will be a worthy challenger for the honours in 2007.

Alejandro González Iñárritu will be joined in the challenge by his compatriots Alfonso Cuarón and Guillermo Del Toro, as both enjoyed success in 2006 with their respective projects Children of Men (2006) and El Laberinto del Fauno (Pan’s Labyrinth) (2006).

Children of Men (2006), is a fascinating idea, exquisitely realised by Alfonso Cuarón, displaying his usual assuredness to deliver a fluent and emotional drama, enhanced by resplendent visuals.

The arrival of the amazing El Laberinto del Fauno (Pan’s Labyrinth) (2006), brought Mexico to the forefront of world cinema once more, with Guillermo Del Toro delivering his country’s finest achievement since Amores Perros.

Since its release, El Laberinto del Fauno has grossed $56 million worldwide, gaining 70 nominations along the way, including 6 Oscar nominations. So far, it has won 25 awards, most notably Best Foreign Language Film at this years BAFTA ceremony, which was graciously accepted by Guillermo Del Toro.

In addition to what has already been discussed, it is important to acknowledge the achievements of Mexicans in cinematography. Emmanuel Lubezki, Guillermo Navarro, Rodrigo Prieto and Salma Hayek have all distinguished themselves as proficient craftsmen, contributing to a multitude of hugely successful movies and gaining international recognition in the process. The obvious wealth of Mexican talent, combined with the impending homecoming of the country’s recent pioneers, should ensure a bright future for Mexican cinema, producing movies that will be celebrated by audiences all over the world.

Article written by Alan Munro

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