

Overview
A thorough analysis of the socio-politics of Mexico, within the historical context of the Mexican Revolution reality. Includes footage from the 1910s, interviews with farmers, politicians, intellectuals, middle class, union, etc, as well as scenes from the life of an Indian family in Chiapas, their religious rituals, their crops, trials and bilingual schools. The film ends with the slaughter in the Plaza de Tlatelolco in 1968, during the infamous Olympics.
Key Film Crew
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The film portraits the stage previous to the outbreak of the Mexican Revolution, from the end of Porfirio DĂaz´ government, the social volatility, the ephemeral government of Madero and the presence of the working class in the figures of Villa and Zapata, until the signing if the Constitution of 1917. All of this through moving images, filmed during those events mainly by the Alva brothers, filmmakers of that time. Those images let us perceive the contradictory and shuddered glance of the people of that period.
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Draws on the story of the same name by the American John Kenneth Turner, who, like some of his compatriots, such as the great journalist John Reed, witnessed and took part in the Mexican Revolution. Like Reed, author of Insurgent Mexico, JK Turner not only exposed the injustices of the Porfirio DĂaz regime but also continued to collaborate with Mexican democrats, particularly with President Madero.
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Through an AI-driven reinterpretation of Mexican Revolution footage captured by the country's cinema pioneers, this documentary offers a fresh look at a pivotal historical moment. It traces the movement's rise, peak, and fall, the birth of a new nation, and invites us to question the narratives that have shaped our identity and the present we inhabit.
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The Colegio de Arquitectos de Catalunya commissioned Pere Portabella to make this film for the Joan MirĂł retrospective exhibit in 1969. There were heated discussions on whether it would be prudent to screen the film during the exhibit. Portabella took the following stance: "either both films are screened or they don't screen any" and, finally, both Miro l'Altre and Aidez l'Espagne were shown. The film was made by combining newsreels and film material from the Spanish Civil War with prints by MirĂł from the series "Barcelona" (1939-1944). The film ends with the painter's "pochoir" known as Aidez l'Espagne.



