If direct performance can be considered a sacred land, then Selena Quintanilla at Houston Astrodome in February 1995, that is, a month before her sudden death, definitely qualified. That night, the heart opening verse appears to be song “Como La La Flor” as if it was a prayer, before the Bettersweet the Ballad game begins. Sites of this historic concert constitute part of “Selena Y Los Dinos”, a new documentary on the Quintanilla family and Selena’s height to stardom – directed by Isabelle Castro, whose previous document “Mega” was on the American musician women in music.
But how can the film director evoke something invisible and invisible about someone who is widely evangelized, and still exists in an indelible way in culture today? Answer: By reaching the personal archives of the Queenlla family and falsifying wise objective threads with the materials – many of which have not been published before. Those who see the wide strokes from Selena’s rise to fame and the tragic end of her story will find a renewed appreciation of the performance because they see it as a vital, charming teenager, and a young woman who affirms herself in her career. The non -exciting video quality, specifically its tracking lines, teaches the reactionary aesthetic of the entire film.
This final document on Silina is comprehensive and lighting, thanks to the explicit family reactions in home films from its first shows in its restaurant, and records in the appearance of the local Texas TV station, and in the end the photos taken on the road while traveling in a temporary tourist bus. Instead of Selena, the uninterrupted images are built closest to a direct profile that one can get at all about someone whose full technical capabilities will remain a mystery forever.
“Selena Y Los Dinos” properly states that the success of Tejano Carismo and the amazing talented was always a cooperation led by her father Abraham Quintanilla Junior – a former member of the original Los Dynos band – with the help of its siblings turned into its colleagues in the band, AB and Suzette (both Executive producers in the movie), and their mother Marcela. Castro’s new interviews with everyone in the direct family, as well as other musicians, song writers and producers who were part of their inner circle, find them talking too late after 30 years of her death. The harm in the loss of Selena is still clear, but it seems that they are all interested in engaging with this project as a celebration of life rather than sending sadness.
Castro has taken a hard topic: the column of the American Mexican culture, which was already the subject of text drama (Gregory Nava in 1997 “Selena” starring Jennifer Lopez) and recently a series of Netflix, at the top of the endless news programs and the anniversary of the anniversary after his death of all lines . Moreover, there is a built -in warning to make documents and a fictional car around celebrities, especially those on musicians: in order to use songs and reach large archival materials, the real estate sharing is a necessity. This, of course, may prevent the exit from touching the lower aspects of the presence of someone.
However, Castro, in cooperation with the editor of Deft Carolina Siraqyan, managed to weave it in parts that deal with some of the shadows of Abraham Quintanilla in the lives of his children. These moments are not inspiring or worth the title, but they acknowledge that sometimes the businessman can reject the feelings of his children or pushing heavily for success through them. One of his answers in an interview at the present time with Castro ignore the capabilities of fashion projects in Selena to some extent, in what comes as a rare glove.
Among the most important states of the noticeable director (perhaps in conjunction with the family) is that the Celina killer, Yolanda Saldvar, does not occupy a single frame of “Selena Y Los Dinos”. Her first name was mentioned once through a news broadcast from Time and Abraham Quintanilla, in footage of a press conference, referring to as a satirical employee. Her absence from this approved drug, the official Bio-Doc is a poetic reduction. Last year, the oxygen network documents gave the most magic entitled “Selena & Yolanda: The Secrets between them” at the time of the conviction convicted to speak by the “truth”.
Castro refers to the reference, through street interviews from the 1990s, to what extent was the American youth of Mexican origin find in Selena a role model that inspired them to re -call their heritage. There is a flashing snapshot-two small lush snapshots will see its leadership on the stage, which represents the size of its arrival within society. It is not an extension to assume that Castro herself was among these young fans who made her the songs of Selena and her character, idol to form the character. This acknowledgment often does not come to the artist’s influence until after passing the time test, but it is worrisome to see the effect that already alive as a unified power of the model across the border, which led.
However, for the last demographic, its importance is deepened, because it did not grow up Spain or listen to the types of folk music in Mexico. However, through her work, she found a way.
Wonderful to see the development of her fluency in Spanish in the interviews that Castro is distinguished as a testimony to ijtihad. However, she also eager to record an English album to restore her American identity and reach a wider audience. Thought, Cuevas does not explicitly think of the success of Selena as a basic piece of the current global boom of music in the Spanish language in various types, one can only think about how industry and culture in general changes, with the work of Spanish speaking now drawing major crowds around the world And domination of plans at home and abroad.
To create this love, fun, and inevitably influencing, Castro and Surghane were found perfection
The final clip, almost a prophetic statement about the endurance of art through those who appreciate this.
The only appropriate response to that reminding of its departure and its acquired immortality as well
It comes from the “Como La Flor” choir: “¡ah-ah, ay, cómo me duele!” Or, in English, “Oh, how to hurt.”