The new cinematic work by Rigoberto Perescano, titled "Los amantes se despiden con la mirada," made its debut at the prestigious Morelia International Film Festival in 2025. This compelling feature film centers its attention squarely on a critical and often overlooked social issue: the pervasive practice of forced marriages deeply rooted in the customary law systems prevalent within Mexico's indigenous communities. Perescano is unequivocal in his condemnation of these practices, asserting that such customs constitute a direct and egregious violation of fundamental human rights. He argues forcefully that they function primarily as a mechanism for perpetuating outdated, restrictive, and ultimately inhumane traditions under the guise of cultural preservation.
Perescano’s artistic endeavor serves as a vital catalyst, prompting a necessary and deeper societal reckoning regarding the inherent conflict between established cultural norms and the universal principles of human dignity. The tension created by this clash between tradition and modern rights is not merely academic; it creates an essential opportunity for communities and policymakers alike to critically re-evaluate entrenched behavioral patterns and ultimately choose a trajectory toward more equitable and harmonious development. In the complex social landscape of Mexico, where the delicate balance between personal freedoms and deep-seated indigenous traditions is often fiercely contested, the director’s art does more than simply state a fact; it issues a powerful and urgent call to action for the deliberate protection and empowerment of society's most vulnerable segments.
In parallel with the artistic critique, the legislative branch in Mexico has demonstrated a clear commitment to advancing the rights and protection of children nationwide. In a significant and landmark move, the Senate of Mexico approved a comprehensive ban on child marriage in February 2024. This decisive action underscores the state's determination to safeguard minors, signaling that the protection of children’s welfare takes precedence, even when such measures conflict directly with certain localized customs or traditional community practices. It is crucial to note that, according to the official definition established by UNICEF, child marriage involves any formal or informal union where one or both parties have not yet reached the age of 18.
This legislative reform in Mexico aligns with a broader, progressive trend sweeping across Latin America. Historically, some nations in the region had notoriously lax laws; for instance, in Guatemala, girls were previously permitted to enter into marriage as young as 14 years old, provided they had parental consent. However, the current legislative efforts aimed at uniformly raising the minimum age of marriage to 18 across the board reflect a growing regional consensus on the intrinsic value of childhood, the necessity of educational opportunities, and the need for robust legal protections against exploitation. This shift represents a profound acknowledgment of children's rights.
Ultimately, the motion picture presented at the Morelia festival functions as a powerful cultural mirror, reflecting the urgent necessity for internal transformation within the communities depicted. The director meticulously highlights that early unions, which may have been accepted as commonplace for centuries, carry severe, documented risks for the physical health, psychological well-being, and future prospects of the participants, disproportionately increasing the vulnerability of young girls. Perescano’s film passionately advocates for systemic changes that foster greater mutual respect, understanding, and cooperation across different generations and cultural groups, ensuring that the preservation of tradition never supersedes the fundamental guarantee of basic human rights and dignity.