The establishing shot of The Category Is… Mexico City’s first episode “Welcome Home” is of Mother Mendoza putting on her eyelashes along with a voiceover from one of House of Mamis’s members, Alexis. We start in a personal setting as we watch Mother Mendoza dressing into drag for work. Throughout the docuseries, we see narratives edited between a style of confessionals and family members speaking freely, then being cut away into dance, music, and views of Mexico City.
The Category Is… Mexico City (2020) is a mini-docuseries by creators Ocean Vashti Jude and Lauren E. Zubia Casalda, who invite viewers into a beautiful, vibrant queer space to share the transformation of voguing from its ballroom origins in New York to… Mexico City!
Before getting into my mini film review, I want to express my excitement for finally purchasing a subscription to revry.tv, a queer entertainment streaming service full of films, shorts, television, podcasts, and music. Aside from categorizing content into familiar genres, the streaming service breaks their content into fun, campy collections. I mention this detail because the categorization makes picking out a show to watch far easier than going through an “LGBTQ” tab within say Netflix or Hulu. My hope is that my excitement with revry.tv continues to grow as there’s already an abundance of short-films and shows I want to encourage others to watch!
Christopher Honoré’s Sorry Angel (2018) embodies unrequited love at the face of impending mortality. At face value, the film sounds melodramatic, yet the three-dimensional characters on screen such as Jacques and Arthur offer a work full of life worthy of affection.
We the Animals (2018), directed by Jeremiah Zagar, is based off the eponymous, semi-autobiographical novel by Justin Torres, which captures the characterization of three brothers growing up in a working-class home in Upstate New York. The film’s cinematography appears in a dream-like montage, like a collection of home videos, offering a nostalgic presence set in dark greens of wilderness and backdrop blues. Aside from the vivid representation of rural Upstate New York, disordered homes, and hardships turned into children’s adventures, the film offers storyboard animations of Jonah’s (Evan Rosado) drawings
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