Abstract
This paper explores ways of conceptualising the nation in two Mexican films, 'Y tu mama tambien' (Cuaron, 2001) and 'Japon' (Reygadas, 2002). It argues that national images in both films are determined by international cinematic spaces, and explores contrasting images in Alfonso Cuaron’s film, aimed at the commercial end of ‘foreign’ language film, and Carlos Reygadas’ film which established him as a promising auteurist art cinema director. I examine their place within the niche markets of the film industry and consider the ways in which this impacts on the representation of the national and the landscape in the two texts. Key Words Alfonso Cuaron, Carlos Reygadas, Art Cinema, Film Markets, Mexican Cinema
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