Abstract

This study aims to illustrate how Mexican arthouse cinema has attained institutional validation at the Cannes Film Festival, particularly within the Un Certain Regard section, through the recurrent selection of films whose thematic structures articulate an a posteriori exploration of the rupture of the nuclear family. Through the use of narratology and temathical analysis, I will provide how convergent patterns can be identified, including the thematic recurrence of human agents acting against other humans, the instrumentalization of violence as a mechanism of transition, the structural absence or non protection from the State, and the erosion of the nuclear family unit or its inability to maintain cohesion.