The Children of Morelia Seventy Years After Their Arrival

In 1937 Spain suffered the ravages of a civil war provoked by the Fascists’ upheaval against the legitimate government of the Spanish Republic. The civilian death toll skyrocketed to the thousands, and, like in every war, the most defenseless victims were the children. In response to the situation and to the petition of a group of women, the government of Lázaro Cárdenas arranged for the safe transport to Mexico of a group or around 500 children, whose families opted for the pain of separation in order to ensure their protection. In June of that year, and under the custody and tutelage of the Mexican government, the children arrived at this city and have since been known as the Children of Morelia.

In May of 1937, shortly before the children’s arrival, Lázaro Cardenas wrote: “Mexico asks for nothing in return for this act; it only establishes a precedent for what ought to be done for fellow countries when they face difficult situations like the one currently in Spain.”

Seventy years later, and thanks to the generous efforts of the UNAM Film Archive (Filmoteca de la UNAM) and the Italian documentary filmmaker Carmen Té, we are able to present a series of works that allows us to relive the arrival of these children in our city and appreciate everything that it has signified. This is also a good opportunity to remember that Morelia must keep its doors open to all those in need, and take a stance against the brutality of war and in defense of human rights, liberty, and peace.


CUAUHTÉMOC CÁRDENAS BATEL
Morelia, Michoacán, October 2007

Program:

1. Niños de Morelia. Llegada a la ciudad de México. (CA 1937)
35 mm, 11 minutos, Mudo.
Un registro de la llegada de los Niños de Moreliaa la Ciudad de México.
2. Niños Españoles en México II (1939)
16 mm, 20 minutos.
Dirección / Director: Hilario Paullada
Este material llegó a la Filmoteca de la UNAM
en 1999 a través de Ángeles Aranda
(su padre es un “niño de Morelia”).

Movies:

Los Niños de Morelia - Horizontes reencontrados

A Tribute to Juan E. García and Simón Bross

It is our pleasure to honor, during our fifth edition of the festival, the work of two extraordinary promoters of Mexican short film and documentary: Juan E. García and Simón Bross. These two individuals have generously supported the film community, providing filmmakers with equipment, in-kind services, and sponsorship, and assuring that their projects have a happy ending.

The long and diverse filmography of this prize-winning duo is proof of Juan and Simón’s admirable conviction to foster film production in our country. As Bross affirms, despite the fact that culture (including tourism) represents the third most important industry for Mexico, it unfortunately does not have an adequate legal support framework.

The future of cinema depends on economic and legislative development, and on the creativity of its people. For this reason, García and Bross have picked up projects that range from first features to the works of renowned filmmakers —among them, ¿Quién diablos es Juliette? (Carlos Marcovich), the experimental film Segundo siglo (Jorge Bolado), the box office hit Y tu mamá también (Alfonso Cuarón), and the recent critically acclaimed features Drama/Mex (Gerardo Naranjo) and El violín (Francisco Vargas). They have also worked to ensure that short film attains its due recognition—so that it is considered a genuine and complete work of art, one that represents the possibility of a future, and not merely a minor piece in a filmmaker’s career.

We deem it just and necessary to recognize the efforts of Juan and Simón and pay tribute to the generosity of those who so selflessly support filmmaking in our country.

Notes on Short Film

It is important to support talented people. We have never thought of short films in business terms. Great filmmakers have shot the 30-something shorts we have produced, and we are very proud to have spurred their careers.

We have helped people out with their first shorts, and we have also supported better known individuals like Carlos Cuarón and Guillermo Arriaga. Four films in which we have taken part are about to be finished this month: Zapatitos by Armando Ciurana, Lección relámpago by Alejandro Lubezki, Por siempre by Pipe Ybarra, and another one by Gary Alazraky with a screenplay by Guillermo Arriaga.

As for feature films, we recently supported Dramamex and El violín. We have been equally supportive an cooperative since the making of Quién diablos es Juliette and Segundo siglo… and we were even involved in the making of Y tu mamá también.

To us, a short film represents a complete work in itself, as well as a glimpse into its director’s future. Moreover, just like in a football draft, there are always talented newcomers in terms of photography, edition, production, sound design, etc.

The only way to generate an industry is by means of its people. Short films are like a great gymnasium. Those who make short films are like short-story writers –later on they can either write a novel or not.

A short story has a beginning and an end in itself, but then it can be extended into a feature film –doors are always open to talented people. If Juan García and I think that a project has potential, we always try to help. It is the only way to survive as an industry and in a country where culture is not given the importance it deserves.

At some presidential debates, I would take out my pen in order to write a checkmark whenever the word ‘culture’ was mentioned. I never actually used it. After the money transfers from Mexicans working in the US and oil, culture –including tourism– is this country’s third industry.

Luckily, people like Marina Stavenhagen or José Luis García Agraz are now in charge of Mexico’s film industry. But over the course of the years, support has only been paternalistic, and a forward-viewing legal framework has not yet been devised.

It is always rewarding to see that a visionary short has been well made. We have taken part in many shorts, and we would like to do many more things. But now it’s time to promote them more professionally. We’re glad there are now festivals that are focused on the future of the film industry in Mexico. It’s time for both the television industry and the government to take a stance regarding the importance of short films in Mexico.

Lección relámpago
Por siempre
Zapatitos

Jonás Cuarón

Jonás Cuarón (Mexico City, 1983) studied Arts in New York’s Vassar School. In 2001, he writes and directs, along with Colt Hausmann, his first short film 8 Stories, wich receive the Best Film Award at the National Secundary Schools Festival of USA. In 2003, he writes and directs Un disparejo. He also film The Shock Doctrine and Año uña, wich has been selected in Cannes Critiques Week.

Filmography:

Año Uña (2007)
The Shock Doctrine (2007)
Un disparejo (2003)
8 Stories (2001).