This spring I had the opportunity to program a film screening at UC Santa Barbara’s Pollock Theater and chose La Revolución de los Alcatraces (2013), an award-winning documentary by Mexican filmmaker Luciana Kaplan.
La Revolución tells the story of Eufrosina Cruz Mendoza, a native of Santa María Quiegolani, a small indigenous community in southern Oaxaca, Mexico. Eufrosina ran for town mayor in 2007, but her election was invalidated because of a “usos y costumbres” ruling — a legal stature that allows indigenous communities to set their local traditions as law — that dictated women were not allowed to be elected to office. The film follows her subsequent personal crusade not only to overturn such a ruling but also to expand the opportunities for women across Oaxaca’s indigenous communities. By questioning the hypocrisies of a political system that allows indigenous rights only when it is convenient for national parties, Eufrosina soon becomes an icon of gender and indigenous rights in her state, albeit at continuous personal expense.
This film portrays Eufrosina’s personal journey and activist awakening and ends with when she accepts a position in the state legislature as a member of the PAN, the conservative party. Since then, her roles have expanded, as she is now the President of the Committee for Indigenous Affairs in the Mexican Congress. In September 2014, she was part of the delegation that accompanied President Peña Nieto to the UN’s Permanent Forum on Indigenous Issues. She used that opportunity to convince the President to support her bill, nicknamed Ley Eufrosina, which modified the “usos y costumbres” stature so it could not be used to discriminate based on gender or race. The bill was approved by Congress a month later.
Screening La Revolución was important for a variety of reasons. It was part of an undergraduate Mexican Film and Television seminar at UC Santa Barbara whose emphasis was on productions beyond the globally recognized Mexican auteurs. Bringing Luciana Kaplan to the class and to the Pollock to present her film showcased the diversity of voices in Mexican screen media. Kaplan was a particularly illuminating person since she is also the coordinator of the Documentary Program at the Centro de Capacitación Cinematográfica (CCC), one of Mexico’s main cinema schools. Her talks provided insights into filmmaking, teaching, and funding practices in the country — including the fact that most documentary filmmakers in Mexico are women.
The event was also important because of how the film speaks to the current political climate in the United States, particularly the involvement of minorities in politics and the 2016 presidential election. In my post-screening interview with Kaplan, we spent some time discussing the title change from Spanish to English, from “The Revolution of the Calla Lilies” to “Eufrosina’s Revolution,” as symptomatic of the tension between the individual pursuing political change and the revolutionary sentiment of a community. This also led us to think about the limits of identity politics. It was inevitable to draw parallels between this story and the presidential hopefuls calling for a political revolution or for the symbolic importance of a woman in a leadership position. And, finally, about the role of artists and academics in interrogating these ideals.
Watch the entire post-screening interview below.