You may have already heard the standing ovation received by Arcelia Ramirez at the Cannes Film Festival for her leading role in La civil, a film directed by Romanian director Teodora Mihai.
The actress plays Cielo, a desperate mother who sets out on her own investigation to find her daughter, who has been kidnapped by a gang in Mexico.
After the show on July 10 at Sala Debussy, Ramirez received an eight-minute applause.
In connection with this confession that makes the skin transform, we recall part of a text published by El Financiero in 2016 about the artist trained at the Centro Universitario de Teatro.
He lived in France from 2007 to 2011, during which time he kept his working rhythm, coming to Mexico to shoot films as diverse as Reasons for the Heart, by Arturo Ripsten, or How I Won’t Love You, by Victor Avillar. Meanwhile, her life in Paris passed like that of an unknown woman who started her family.
A good salsa dancer, she also loves to be accompanied by songs of Serrat, Silvio Rodríguez and Café Tacvba.
The eclectic spirit of her work reflects her way of being, turbulent and adventurous, the rebellion she learned from a character who taught her the most complex form of rebellion: Sor Juana Ines de la Cruz.
It was a school for the actress. He loves Blanca Estela Pavon, Mabe Cortes, Ninon Seville, Fernando Soler, and he understood the power of cinema from this period when he first saw Enamorada in 35mm at a festival, when he noticed the faces of Maria Felix and Pedro Armendarez.
new mexican cinema
It was quite a challenge, as the motto of all those who devoted themselves to film production at the time was to fight the skepticism of the audience. People didn’t watch Mexican cinema because they thought it was horrible, boring, dirty, or vulgar.
Arcelia and the film community had to fight a series of preconceived notions that kept audiences away from theaters. More elaborate comedies began to emerge that reflected social reality, and in terms of aesthetics, new photographers, screenwriters and directors appeared.
It is considered that there are interesting films in North America, but the vast majority are based on action films or absurd humor: “One goes well and the others are repetitions that threaten our intelligence and patience.”
Wajdi Moawad Theater (Canadian writer, actor and theater director of Lebanese descent)
She lived in France because she fell in love with a French man (the father of her two daughters, critic Jean-Christophe Bergonne) and had to leave her theatrical career. But before that, he did a permanent stage with Luis de Tavira, Jose Caballero, Otto Mineira and Martin Acosta.
When he returned, he returned to the stage with Mouawad (Fires), which he discovered in Paris: “I was deeply moved, I really felt in front of a huge author, a kind of modern Shakespeare.”
Arcelia Ramirez made her film debut with El centro del laberinto (1985), then she starred in La mujer de Benjamín (1991), Ciudad de ciegos (1991), Like Water for Chocolate (1992), and Serpents and Stairs ( 1992), Cilantro y perejil (1998), Chronicle of a breakfast (2000), Zurdo (2003), Teo’s trip (2008), Returns not accepting (2013), Jirón de fuma (2013), The Hours with you (2015) , Veronica (2017) and no one will ever know (2018), among others, according to Sensacine México.
She participated in the telenovela De Frente al sol (1992), for which she won the TVyNovelas Award as the first of the year.
His television career includes decades and success in productions such as La caula de oro (1997), La calle de las novias (2000), Borderless Like the Desert (2004), Camellia la Texana (2014), The Color of Passion (2014).), Juana Ines (2016), Without a Trace of You (2016), El Chema (2016) and Hijas de la luna (2018).