2022/11/07 by Cebey, Georgina
#cinema #crisis #entangled temporality #neoliberalism #palimpsest
paper · doi:10.23692/imex.22.7
pp. 84-96 This article explores two films by Mexican director Alonso Ruizpalacios that, despite being recent productions, focus their plots on pivotal events in Mexican history. Going back to the year 1999 in Güeros (2014) or to 1985 in Museo (2018), I propose that the exercises of inscription of multiple temporalities between the image and the horizon of enunciation of the director, function as readings of a palimpsest that reveals, on the one hand, the ability of cinema to illuminate the multiple temporalities of spaces, and on the other, a conflictive temporal regime for the subjectivity of the young protagonists of the films, the neoliberal era. I resort to the concept of entangled temporality (Mbembe, 2001) to elucidate the function of the multiple temporalities that intertwine and shape the urban palimpsest that is Mexico City.