One of the minor injustices in the world is that non-English speaking actors, regardless of their talents or credentials, often have to work twice as hard to achieve the same amount of recognition as their Hollywood brethren. 

Such is undoubtedly the case with Gael Garcia Bernal.  Largely unknown, at least by name, to most Western cinemagoers, the young Mexican has nonetheless been described as ‘the best actor of his generation’ and has lit up the screen in such classics of Spanish cinema as Amores Perros and The Motorcycle Diaries.  One can’t help feeling that if Bernal had been born in Los Angeles as opposed to Jalisco, Mexico he’d presently be being touted as the next Johnny Depp.  As it is, such plaudits may not be so far off.

Along with Amores Perros, Y Tu Mama Tambien (2001) is where it all began for Bernal.  A road trip par excellence, this coming of age tale revolves around two childhood friends on the verge of manhood. 

Attending an otherwise unspectacular state wedding, rich-kid Tenoch (Diego Luna) and his working class pal Julio (Bernal) meet Luisa (Maribel Verdu), the glamorous Spanish wife of Julio’s philandering cousin.  Not wanting to waste the opportunity to spend more time in her presence, the pair promptly invite Luisa to an imaginary beach idyll known as Heaven’s Mouth.  Wishing to escape the bonds of her shell of a marriage Luisa takes the boys up on their offer, and a journey of both spiritual and sexual awakening ensues, set against the backdrop of politically restless present-day Mexico.

Directed by Alfonso Cuarón (Harry Potter and the Prisoner of Azkaban), Y Tu Mama Tambien enjoyed huge success both at home and abroad.  It currently holds the record for the highest-grossing opening weekend in Mexican box-office history, and received Academy Award and Golden Globe nominations for Best Original Screenplay and Best Foreign Language Film.

Given the film’s ostensibly simple premise much of this success hinges on the performances of the film’s three leads, which remain richly nuanced and deeply mesmerising throughout.  The trio’s sexual interplay is by turns exquisite, understated, over-zealous and downright reckless, and the no-holds-barred dialogue is likewise suitably risqué.

While it engendered some controversy for its frank depictions of teenage sexuality, Y Tu Mama Tambien remains an important staple of Mexican cinema.  The present HD rendering is superb and represents the definitive edition of this charming and compelling film.  Picture and audio quality are immaculate and a slew of bonus features are on offer, including deleted scenes, featurettes and one of Cuarón’s early shorts, presumably included because it deals with many of the same themes as the main feature.  A director’s commentary would have been a nice touch, but as it stands this is a highly impressive edition of one of the most enjoyable and renowned Spanish-language films of all time.