Last year, I mean 2012 actually, so the year before me in Cannes, also Carlos Reygadas won best director. So, it was like two years in a row, Mexican directors win, and from the same producer, you know, which is — you know, when those things happen, you check kind of stuff, and I noticed that in the whole history of the Cannes Film Festival, only two other countries had won consecutively the best director awards, which is France and United States, you know, in like 50 years or something. And those two countries are very important as far as filmmaking, you know, as far as movies. And now the third country that has won in a row is Mexico. I’m not comparing exactly to France or United States of course, but it means something I think. Somehow it’s significant. And besides that, many Mexican people are trusting Mexican movies again, I think, which has been a long, painful process, you know, that started in the early 2000s, you know, with Y Tu Mama Tambien, Amores Perros, Cronos, you know, these directors that actually don’t really work anymore, they work in United States, and in Europe or whatever.1

 

But what they have — it’s also been very important, those filmmakers somehow have been also very important for the people that kept making movies here, to believe in movies here, to trust that there is talent, that if people invest in this talent here, that interesting things will happen, you know. And I think the track record has shown that throughout the years. And right now, it’s kind of a good moment in that way in Mexico. Also, there’s been these huge hits, box office hits of Mexican movies, that have somehow also electrified everybody, that people are excited about, and calling it many things. So, it’s a good moment for movies here in Mexico.

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