10 · 21 · 26 Tribute to Janet Alcoriza at the 24th FICM Share with twitter Share with facebook Share with mail Copy to clipboard The 24th Morelia International Film Festival (FICM) paid tribute to Janet Alcoriza, the multifaceted actress and screenwriter of Mexican cinema’s Golden Age, with the special program Janet Alcoriza: actriz y guionista, presented with the invaluable support of the Televisa Foundation, the UNAM Film Archive, and the National Film Archive. Café Concordia (1939) de Alberto Gout 35mm Screening of CUANDO VIAJAN LAS ESTRELLASThe program began with a screening of Cuando viajan las estrellas (1942, dir. Alberto Gout), introduced by Jorge Martínez Mícher, Deputy Director of Outreach for the General Directorate of Cinematographic Activities at the UNAM Film Archive, and Rafael Aviña, a researcher and film critic. Janet Alcoriza took on various roles throughout her life, but she knew that her dream was to write for the cinema. Rafael Aviña Between 1939 and 1943, she worked as an actress. In 1944, she made her debut as a screenwriter with Norman Foster’s La hora de la verdad, under the pseudonym Raquel Rojas. A year later, as Janet Riesenfeld, she married actor and screenwriter Luis Alcoriza, whose last name she later adopted. The filmmaker couple would become one of the most renowned duos in Mexican cinema, known for comedies and melodramas that allowed stars such as Cantinflas, Tin Tan, Jorge Negrete, and Pedro Infante to shine on the international stage.“Janet Alcoriza’s great significance lies in the fact that she was one of the most prolific screenwriters in Mexican cinema, having written more than 50 screenplays. She is a figure who has gone unnoticed, as has generally been the case with female screenwriters,” commented Rafael Aviña.The Mexican researcher added that women played a fundamental role during the Golden Age. Many other screenwriters, such as Elena Garro and Josefina Vicenz, had significant careers in the national film industry, but the patriarchal system rendered them invisible. Jorge Martínez Micher The audience had the opportunity to watch a 35mm print of this film thanks to the UNAM Film Archive. “It’s a tremendous opportunity to see a film as it was originally shown on the big screen. What’s more, the cinematography is by Gabriel Figueroa, so you’ll be able to see the Mexican cinematographer’s extraordinary visual work in all its splendor, just as it was seen at its 1942 premiere,” Aviña added as he kicked off the screening.Cuando viajan las estrellas tells the story of a Hollywood star, played by Janet Alcoriza, who travels to Mexico to take flamenco lessons for her next movie. YO QUIERO SER HOMBRE Presented as Part of the Tribute to the Actress and WriterThe screening of the 1950 film Yo quiero ser hombre took place as part of the activities of the special program Janet Alcoriza: Actress and Screenwriter. The event was hosted by Jorge Martínez Micher and featured renowned critic Rafa Aviña.The copy screened belongs to the UNAM Film Archive, Mexico’s most important film collection, which houses more than 50,000 Mexican films, 15 vaults, 7,000 film projectors, more than 20,000 books, and a wide variety of historical material.Directed by René Cardona, written by Janet Alcoriza, and starring Abel Salazar, Alma Rosa Aguirre, and Sara García, the film was presented in 35-millimeter format.Yo quiero ser hombre is a comedy that revolves around the character of Divina, a refined young woman who must marry her cousin Pablo in order to collect an inheritance. To discover her future fiancé’s true intentions before accepting the engagement, she decides to disguise herself as a man so she can spend time close to him.Four additional films from the UNAM Film Archive and one more film from the National Film Archive’s collection will also be screened as part of the special program. Jorge Martínez Micher, deputy director of outreach at the UNAM Film Archive, highlighted the importance of recognizing Alcoriza’s legacy to reaffirm and preserve it, as well as to encourage the study and preservation of Mexican cinema among new audiences, and he emphasized the relevance of giving visibility to the women who have contributed to the history of cinema in Mexico.Rafael Aviña, a researcher and film critic, commented that, although the film might seem simple at first glance, it is surprising in its treatment of themes that were ahead of its time, such as cross-dressing, homosexuality, and the roles of men and women in society. He also mentioned a series of nine screenplays written by the actress together with her husband that same year, the first of which was El gran calavera, directed by Luis Buñuel.The team concluded by inviting the audience to the next screening of Luis Buñuel’s El gran Calavera, presented in 35-millimeter format, on Monday, October 19, at 10:45 a.m. EL GRAN CALAVERA Presented in the Janet Alcoriza Tribute at the 24th FICMThe screening of the film El gran calavera (1949), directed by Luis Buñuel, took place as part of the program Janet Alcoriza: Actress and Screenwriter. The event was presented by Marina Stavenhagen, director of the National Film Archive of Mexico, who was joined by film critic and researcher Rafael Aviña.The copy screened belongs to the archives of the Mexico National Film Archive, one of the most important repositories of Mexican film heritage, which also serves as a space for the safekeeping, preservation, and restoration of many of our films.The Film Archive preserves material in various video formats, as well as iconographic and documentary material, posters, and photographs. In Stavenhagen’s words, “Everything that has been part of the history of national cinema.”The director invited the audience to visit the photography exhibition dedicated to The Multiverses of Janet Alcoriza in Benito Juárez Square.Regarding the film, Aviña mentioned that Janet Alcoriza worked alongside her husband, Luis Alcoriza, on adapting the screenplay from the comedy of the same name by Spanish playwright Adolfo Torrado.El gran calavera is one of the most important films in Mexican cinema and was the second film directed by Buñuel.Aviña noted that the film was pivotal for the Alcorizas’ careers, but particularly for Buñuel, who arrived in Mexico in 1946 to build a career that, initially, was not a box-office success. It wasn’t until 1949 that, with the help of his producer and friend Óscar Dancigers, he took on the direction of El gran calavera.As a result, the Alcorizas and Buñuel connected and began working together. Buñuel shot the film in less than three weeks. Its success propelled his career and paved the way for what would later become Los olvidados (1950).El gran calavera would also serve as inspiration for Nosotros los nobles (2013), a film by Gary Alazraki.Aviña highlighted Janet Alcoriza’s clever approach to tackling a complex issue like class differences in an entertaining way. “It’s important to appreciate Janet’s intelligence in addressing such a complex issue as class differences, yet doing so in such an entertaining way by bringing it to the big screen.”Finally, Stavenhagen thanked the film’s projection team, as well as the FICM team and the audience. In her own words: “It’s a very special print.”EL GRAN CALAVERA Presented During the Janet Alcoriza Tribute at the 24th FICMThe screening of the film El gran calavera (1949), directed by Luis Buñuel, took place as part of the Janet Alcoriza tribute program. The event was presented by Marina Stavenhagen, director of the National Film Archive of Mexico, and featured the participation of renowned critic and researcher Rafael Aviña. The copy screened belongs to the National Film Archive of Mexico’s collection—one of the most important repositories of Mexican film heritage—which also serves as a space for the safekeeping, preservation, and restoration of many of our films.The Film Library preserves material in various video formats, as well as iconographic and documentary material, posters, and photographs. In Stavenhagen’s words, “Everything that has been part of the history of national cinema.” The director invited the audience to visit the photographic exhibition dedicated to Los multiversos de Janet Alcoriza in Benito Juárez Square.Regarding the film, Aviña mentioned that Janet Alcoriza worked alongside her husband, Luis Alcoriza, on adapting the screenplay from a play titled Adolfo Corral.El gran calavera is one of the most important films in Mexican cinema and was the second film directed by Buñuel. Aviña noted that the film was pivotal for the Alcorizas’ careers, but particularly for Buñuel, who arrived in Mexico in 1946 to build a career that, initially, was not a box-office success.It wasn’t until 1949 that, with the help of his producer and friend Óscar Dancigers, he took on the direction of El gran calavera. As a result, the Alcorizas and Buñuel joined forces to work together. Buñuel shot the film in less than three weeks. Its success propelled his career and paved the way for what would later become Los olvidados (1950).El gran calavera would also serve as inspiration for Nosotros los nobles (2013), a film by Gary Alazraki. Aviña highlighted Janet Alcoriza’s cleverness in tackling a complex issue like class differences in an entertaining way. “It’s important to appreciate Janet’s intelligence in addressing such a complex issue as class differences, yet doing so in such an entertaining way by bringing it to the big screen.”Finally, Stavenhagen thanked the film’s projection team, as well as the FICM team and the audience. In her own words: “It’s a very special print.” La liga de las Muchachas was screened in 35mm as Part of a Tribute to Janet Alcoriza.As part of the Janet Alcoriza: Actress and Screenwriter program—a tribute to the multifaceted filmmaker and key figure of the Golden Age of Mexican cinema—the 24th Morelia International Film Festival (FICM) featured a screening of La liga de las muchachas (1950), directed by Puerto Rican filmmaker Fernando Cortés.The film, screened in 35mm through a collaboration with Filmoteca UNAM, was introduced by Mexican film director, producer, and screenwriter Alejandro Pelayo.A core interest of the festival is to revisit and promote the history of Mexican cinema. The restoration work done by the National Film Archive, the Televisa Foundation, and the UNAM Film Archive has found a way to reach a large part of the Mexican public thanks to the FICM. Alejandro Pelayo To provide context for the significance of this film, Pelayo oriented the audience toward the late 1940s—a time when the Golden Age of Mexican cinema began to lose its standing on the international stage.The screenwriting duo, like many other Mexican filmmakers, understood that to sustain a living in the film industry, they needed to adapt it to something new. Consequently, Janet and Luis Alcoriza became pillars of a production system built around specific genres.“Following the Second World War, cinema emerged as one of the most significant exports, particularly within the Latin American and Spanish markets. La liga de las muchachas is one of those films created to maintain a large audience and an international impact,” Pelayo remarked.This film belongs to that marked transition towards film genres, and also includes two stars, Elsa Aguirre and Miroslava Stern. “This is interesting, as it adopts a comedic structure—it’s entertaining and showcases stars. Mexican cinema of that era was deeply tied to its stars, much like Hollywood,” he added. LA HIJA DEL ENGAÑO In 35mm at the 24th FICM To kick off the activities for the sixth day of the 24th Morelia International Film Festival (FICM), Jorge Martínez Micher, Deputy Director of Outreach for the UNAM Film Archive, joined by Mexican film director, producer, and screenwriter Dr. Alejandro Pelayo, presented Daughter of Deceit (1951) by Luis Buñuel—a screening held as part of a tribute to Janet Alcoriza, the multifaceted actress and screenwriter from the Golden Age of Mexican cinema. Alejandro Pelayo The screenplay for this film was written by the husband-and-wife team Janet Alcoriza and Luis Alcoriza, who collaborated with the Spanish director on nine scripts during his time in Mexico. Pelayo highlighted the work of Janet and Luis Alcoriza, noting their ability to adhere to established cinematic genres during this period of the Mexican film industry—a time when creating more commercial stories was essential to facilitate international distribution.Thanks to the UNAM Film Archive, the audience in Morelia was able to enjoy a 35mm print of the film. “For the UNAM Film Archive, screening these works in their original format—the way cinema is meant to be seen, that is, on 35mm film in a darkened theater—reaffirms the importance of preserving, studying, and sharing Mexican cinema with new audiences. It also serves to recognize, above all, the contributions women have made to our film industry,” remarked Micher.Micher took a brief moment to note that Fray Eugenio Martín Torres, from the Centro Universitario Cultural (CUC) in Mexico City, was present in the audience. He announced that a significant portion of the CUC’s collection of Buñuel’s work is to be donated to the UNAM Film Archive. According to Alejandro Pelayo, the CUC served as a vital space for the development of many cinephiles who would later become prominent figures in Mexican cinema—such as Daniela Michel, founder and director of the Morelia International Film Festival (FICM), and the multi-award-winning Mexican filmmaker Alfonso Cuarón, to name a few.Daughter of Deceit is based on a *sainete* (a one-act farce) titled Don Quintín, el amargo, written by the Spaniards Carlos Arniches and José Estremera. “Buñuel had already adapted [this farce], he had used it in 1935 as executive producer” when he was still living in the Spanish Republic, Pelayo commented.The film follows Quintín, who, upon discovering that his wife, María, has been unfaithful, throws her out of the house. As she leaves, she shouts that their daughter, Marta, is the result of her infidelity. Years later, María convinces Quintín that she lied about the child’s paternity and that he should go back to find his daughter.
