La Vida es un carnaval

Director: Fernando Colin Roque
Release Year: 2021

La Vida es un Carnaval, a documentary by Fernando Colin Roque, offers a fascinating exploration of identity, tradition, and resistance in a small rural community in Mexico. Set in the picturesque town of Ixtlilco el Chico in the state of Morelos, this poignant film captures the emotional journey of a marginalized LGBTQ+ group seeking recognition and respect through their desire to host the first-ever gay pride parade during the village's renowned carnival celebration. The arrival of a trans actress, Dana Karvelas, serves as a catalyst for an unexpected clash, intensifying the complexities surrounding sexual diversity in this conservative environment.

 

The town of Ixtlilco el Chico, known for its vibrant carnivals, provides a backdrop where revelers engage in dance, music, food, and celebration. A central part of this tradition is the "Mojiganga" parade, where men from the community dress as women, often in exaggerated, humorous costumes, and parade through the streets. However, a distinct group of men in the town, including Taly, Johan, and Emmanuel, begin to dress as women not for comedic effect, but as an expression of their true selves. For them, it is not just an act of cultural celebration but a profound exercise of personal identity and dignity. This small LGBTQ+ community in Ixtlilco seeks to transcend the boundaries of traditional festivities by organizing a serious and politically charged LGBTQ+ pride march. They understand that merely joining the Mojiganga is insufficient. They need to assert their identity, challenge societal norms, and create space for recognition and self-respect. In a town of around 2,000 inhabitants, where LGBTQ+ visibility is almost nonexistent, the effort is audacious, bold, and fraught with contradictions. 

 

In La Vida es un Carnaval, Fernando Colin Roque follows the personal and collective struggles of Taly, Johan, Emmanuel, and Dana as they pursue this deeply meaningful and ambitious project. Taly, Johan, and Emmanuel’s desire to dress as women is not simply a gesture of rebellion against societal norms but an effort to bring visibility to their identities, their lives, and their resistance against the limitations imposed by both their community and the broader social structures. This march represents the first opportunity for them to publicly challenge the traditional conceptions of masculinity and femininity ingrained in their rural Mexican environment. The documentary takes viewers on an emotional journey, showcasing the resilience of these individuals as they fight for their right to express their gender identity. The arrival of Dana Karvelas, a well-known transgender actress, plays a significant role in this process. Dana’s presence acts as both an inspiration and a source of tension, as she offers valuable insights into the challenges of sexual diversity, but also serves as an outsider in the community. Despite the cultural clash, Dana’s relationship with the LGBTQ+ group in Ixtlilco becomes a testament to the power of friendship and solidarity within the broader LGBTQ+ movement. 

 

While La Vida es un Carnaval is undeniably a film about LGBTQ+ representation, it also serves as a broader commentary on human existence, the emotional complexities of identity, and the personal struggles that accompany the pursuit of authenticity. Colin Roque is not simply interested in documenting the LGBTQ+ experience; he is equally concerned with the internal conflicts and dilemmas faced by his subjects. Through the course of the film, the characters make mistakes, confront setbacks, and navigate a landscape of contradictions. The documentary reveals that even in the face of failure, these individuals maintain their dignity and resilience, using their experiences as opportunities for growth and reflection. For Colin Roque, the most crucial aspect of La Vida es un Carnaval is its portrayal of resilience. The documentary is not just about a political statement or a quest for social acceptance, but also about the journey of personal growth and spiritual awakening. Taly, Johan, Dana, and Emmanuel embody the perseverance needed to navigate life’s obstacles and the power of community in times of hardship. Through their experiences, the film highlights how self-expression and identity formation can become acts of resistance, not just against external societal pressures but also against internalized shame and fear. 

 

Dana Karvelas, a transgender actress with significant standing in Mexico’s LGBTQ+ community, emerges as a key figure in the documentary. Colin Roque invited her to join the project, aware of the deep impact her participation would have on the LGBTQ+ community in Ixtlilco. While Dana is initially an outsider to the town, her relationship with the local LGBTQ+ individuals develops organically, as she connects with them on a personal level and offers guidance based on her experiences as a trans woman. For many in Ixtlilco, Dana is a source of inspiration, as she represents the possibility of living openly and authentically, even in a space that may not yet be fully ready to embrace diversity. Interestingly, the local LGBTQ+ community in Ixtlilco had already been fans of Dana Karvelas, which made her integration into the project feel even more natural. She quickly formed strong bonds with Taly, Johan, and Emmanuel, offering them not only emotional support but also the wisdom and encouragement they needed to continue their efforts. The dynamic between Dana and the group highlights the power of shared experiences and the importance of mentorship and solidarity within the LGBTQ+ movement. 

 

Filming La Vida es un Carnaval was a decade-long process, during which Fernando Colin Roque developed deep connections with the people of Ixtlilco. Each year, he returned to the town, filming not just the LGBTQ+ group’s attempts to organize the pride march but also immersing himself in the carnival festivities. As an outsider himself, Colin Roque had to participate in the cultural practices of the community, dressing, dancing, and celebrating alongside the locals. This participatory approach was essential to gaining the trust of his subjects and documenting their lives in an authentic and empathetic way. For Colin Roque, the role of the documentary filmmaker is to listen deeply to his subjects and capture not only their external actions but also the internal dynamics that shape their stories. The documentary process was not limited to capturing images but also involved recording sound - conversations, debates, and moments of reflection that took place off-camera. This immersive approach allowed Colin Roque to truly understand the complexities of his subjects' lives, resulting in a film that goes beyond superficial representations of LGBTQ+ identity. 

 

Sadly, during the production of La Vida es un Carnaval, Johan, one of the central figures in the film, went missing. His disappearance casts a somber shadow over the documentary, as the film is, in many ways, a tribute to him. Colin Roque dedicated the film to Johan, honoring his memory and the bond they shared as friends. The documentary, despite its focus on the struggles of the LGBTQ+ community, is ultimately a celebration of friendship, solidarity, and the resilience of the human spirit. The decision to screen the film for the first time at the Festival Internacional de Cine de Guanajuato (GIFF) was symbolic. Colin Roque wanted to present the film to his subjects, including Dana and the people of Ixtlilco, in the most beautiful and communal way possible - at a premiere that celebrated not only the film's completion but also the personal and collective journey it documented.

 

In La Vida es un Carnaval, the issue of identity is constantly in flux. The LGBTQ+ community in Ixtlilco does not conform to rigid categories, and Colin Roque deliberately refrains from labeling his subjects with definitive terms such as "homosexuals who dress as women" or "transgender individuals." Instead, the film captures the fluidity of gender and sexual identity, acknowledging the complexities and contradictions that exist within these definitions. Dana Karvelas, as a transgender woman, offers a different perspective, one that is more aligned with the language and experiences of urban LGBTQ+ communities. However, as Colin Roque notes, the rural LGBTQ+ experience is distinct, often overlooked, and fraught with different struggles. In Ixtlilco, the lack of a unified LGBTQ+ identity reflects the diverse and evolving nature of gender and sexual expression, highlighting the ongoing process of deconstruction and renaming that is necessary in the fight for inclusion and equality. 

 

In the broader context of Colin Roque’s filmography, La Vida es un Carnaval represents an exploration of human identity from various perspectives. Whether examining the life of a tree in his earlier work Yóolotl or exploring the consciousness of plants in his upcoming projects, Colin Roque is deeply invested in challenging anthropocentric worldviews and embracing alternative ways of seeing and understanding the world. In La Vida es un Carnaval, the characters' efforts to deconstruct traditional gender roles resonate with this larger theme of questioning established norms and striving to create more inclusive, diverse, and compassionate societies. The documentary is not just a snapshot of LGBTQ+ struggles in rural Mexico but a universal reflection on the human experience, offering a powerful message of resilience, transformation, and the importance of community in the face of adversity. Through its portrayal of Taly, Johan, Emmanuel, Dana, and the community of Ixtlilco, La Vida es un Carnaval emphasizes the importance of finding one’s voice, asserting one’s identity, and the ongoing journey of deconstructing the norms that define us. It is a story of personal empowerment and social change, offering a glimpse into a world that is still grappling with the complexities of gender, sexuality, and cultural expression.

 

via: Vimeo

 imcine.gob.mx and unopeliculas.com

Image credits: Vimeo