The worlds of Mexico collide in this film with recollections of old-war Spain embodied by Luisa (Ana Lopez Ricardo) and modern Mexico with its collisions of the very poor the very rich, the very beautiful and ugly, the city and the countryside, and the paradox that Mexico which vacillates between these foils of thoughts, actions and politics.
Cuaron juxtaposes scenes of very surface, light portrayals of these boys lives, usually involving sex or alcohol, or some party they attend, with moments of self-revelation, or omniscient parables that are injected into the narrative telling of the interconnectedness of all characters within the film no matter how insignificant they seem to be.
Sex in this film is used as a metaphor for the boys' move from selfish adolescence to self- realized human beings who realize their relationship through a climactic menage-a-trois involving Luisa, the voice of experience, reason, and the matriarchy.
This film is well written, contemporary, and important to our generation. It communicates the complications that dwell within the realationships of youth, no matter how shallow they seem to be.
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