In the sex comedy Y Tu Mamá También, which has dominated the Mexican box office, two teenage boys facing the dusk of their high-school lives find themselves on a road trip with an attractive older woman. One of the boys, Julio (Gael García Bernal), comes from a much humbler background than the other, Tenoch (Diego Luna), whose family is ostentatiously wealthy; yet they have a lot in common, starting with a teenager’s devotion to raunchiness. With each other, they brag about what they do in bed with their girlfriends; the reality, as we see it in the film’s opening minutes, is a bit more flailing and abrupt. Their travelling companion is Luisa Cortés (Maribel Verdú), the wife of a pompous and pathetic writer. Perhaps close to thirty, she’s missed out on a lot of fun. For her own reasons, she takes the boys up on their offer to tag along for a weekend ride to a beach.
Y Tu Mamá También is a return to roots by the Mexican director Alfonso Cuarón, who came to America in the ’90s to direct such neo-classical eye candy as A Little Princess and Great Expectations. The new movie is considerably franker and rougher-edged; the MPAA, in its infinitesimal wisdom, refused to let the film slide with an R rating, thus depriving the American Julios and Tenoches in the audience of seeing a truthful but warmly composed reflection of themselves. (It’s permissible, of course, for teenagers to enter the MPAA-approved sex-equals-slaughterhouse world of Jason X.) As with all movies the MPAA apparently considers too explicit, Y Tu Mamá También is not too explicit — merely honest and unblinking. The sex scenes are generally played more for frantic comedy than for eroticism, which of course makes them more erotic.
Julio and Tenoch throw a bunch of junk into Julio’s borrowed car and scoop up Luisa at her antiseptic apartment. Something about the noisy squalor of the car, and the noisy enthusiasm of the boys, seems to unlock Luisa; something else does, too. Before the trip, we see her sitting in a doctor’s waiting room, and though I won’t reveal why, you can probably guess why; doctors are never mentioned in movies unless the very fact of them portends something grim. In any event, during the course of the journey, Luisa — whose husband has called her with the drunken, sobbing news that he’s just cheated on her — singles out the boys for sexual play, first Tenoch in her motel room, then Julio in the back seat of his car, then both at once at the end of a tequila-flavored night.
Many articles have bundled Y Tu Mamá También together with 2000′s ferocious triptych of love, Amores Perros, partly because of the angle that there’s something new and exciting going on in Latino cinema, partly because both films share an actor, the amiable and soulful Gael García Bernal. I don’t think Y Tu Mamá También is nearly as richly textured or as provocative as Amores Perros, but the comparison is bankrupt anyway; Y Tu Mamá También is to Amores Perros as, say, American Pie is to Pulp Fiction — both fine entertainments, but one generally seeks only to amuse, whereas the other is a fuller, denser package.
At times, Y Tu Mamá También tries to be deeper than it needs to be. At regular intervals, a narrator interrupts the proceedings to inform us in dispassionate voiceover about facts and events irrelevant to the action. The irrelevance says “art”; it’s a comment on mundane life marching on around the realized sex fantasy of the boys (and of the woman). And Luisa’s character arc is a little too “Seize the day” for my taste; the revelation of her secret shames and humbles the boys, who were only out for a fun getaway. Foreign films (the overpraised Amélie is another recent example) are threatening to become as glibly life-affirming as any American Chicken Soup for the Soul fable financed by Miramax in search of Oscars. Still, Y Tu Mamá También offers a shot of wise, freshly etched character comedy in a time when it’s desperately needed. Once again, a foreign director shows Hollywood what Hollywood should always be doing but has presumably forgotten how.