Analysis Of Y Tu Mamá También By Alfonso Cuarón

Alfonso Cuarón’s 2001 movie, Y Tu Mamá También, contains transnational elements that contribute to the films overall aesthetic and global success. In the film a duo of friends, Tenoch Iturbide and Julio Zapata, are two young men that find themselves on edge because each of their girlfriends are travelling in Europe before they leave for college. The transnational aspects of the film go beyond the funding, cast, and distribution and delve into a much larger, transnational issue. The definite time that a person has on this earth is a precious commodity that can either be wasted or taken advantage of. Y Tu Mamá También explores this idea of life by tailoring its overall message to the experiences of a young Mexican woman named Luisa. An

In Heuser’s symbolic analysis, Tenoch and Julio represent the two primary political forces in Mexico (the upper class and the ‘bourgeoisie’/lower middle class) at around the turn of the 21st century when Nation Action Party (PAN) took control of the Mexican government. These two classes’ fixation with egotistical, or in the case of the movie, sexual demands prohibits them from realizing their full potential by working as one. In Heuser’s opinion, the car represents Mexico and Luisa embodies the possibilities of a European-style government in Mexico. Once Luisa gains command after a dispute between the two boys, the objective of the trip, ‘Heaven’s Mouth’, becomes tangible and attainable. Similarly the political/national goals of Mexico could become realistic. However, when Julio and Tenoch vacate their tent, the pigs, which represent the peasant class, run amok, affirming the boys’ assumption that the peasant class cannot be trusted. When they wake up in bed together, the boys are appalled – they can’t seem to face the idea of being together. Heuser describes this encounter between the symbolic upper class and ‘bourgeoisie’/lower middle class as “their inability to overcome their macho hang-ups is equated with the kind of