Hitchhiking On Demand.
Cuaron’s language is so smart that it is practically silly. His quest for the philosophical challenges that life and death pins down in a moment, comes involuntarily. His vision so pure in its reach that he is basically crafting himself on screen, there is a version of him, a piece of him residing on the screen that ignites the forest fire. The conversations between these more than three dimensional characters doesn’t seem scripted at all. There is no cinematic arc or an antic in here, maybe that’s his home run. His words are simple, easy and adaptive, he starts of smooth and takes everything for granted, all a tomfoolery and yet perfectly balanced on the concept it explores.
He uses his frame wisely, like when Luisa played by Maribel Verd confronts her husband on a phone, in the background Julio (Gael Garcia Bernal) and Tenoch (Diego Luna) are goofing around. Declining to compromise the writing in order to shift the tone into serious hard facts, the co-writer and director, Alfonso Cuaron wisely chooses to pour it all on the narrator, which steals some of the best moments of the film like when it describes a history of the location or the future trajectory of the characters, it helps him project the intensity of that current moment.
Aforementioned, the cast has done an amazing work especially all the long one take shots where there is a lot of content to cover up and is done effortlessly. The Cuaron brothers that wrote this script together has beautifully painted the equation of the brotherhood with a hint of silliness of a young teenage mentality that we all can resonate with easily. Y Tu Mama Tambien works only for its rigid nature of not surrendering itself to the corrupt cinematic aspects, it grows less and less cinema-alike and feels more and more cinematic.