I’m no longer here. Under the direction of Fernando Frías and starred by Juan Daniel García (Ulises), I am no longer here shows us a mexicanity until now outside the collective imagination. Cumbias reduced and Colombian vallenatos, long and dyed hair; lying clothes and, above all, a youth with immense desire to belong somewhere.
The Kolombia subculture, born in the north of the country, dates back to the first decade of the docile years, in which expressions such as Chola’s identity gained popularity, showing the neighborhood as a group that functioned as a cloak of relief and protection in highly conflicted poor environments. The neighborhood here is a family structure from which members obtain what society, in constant search of its standardization, has denied them: the validation of themselves for who they are.
This is where a key question arises: why is there a movement called Kolombia in Mexico? Well, it happens that the northern states have had a Chicano influence that, from the neighboring country, inherited the music from other Latin American immigrants, just as Mexican identities – Americans like pachucos and cholos came.
Por otherwise, there is talk of a significant Colombian immigration to Regiomontan territory throughout the second half of the twentieth century. That is, in some way or another, this music much more cadenceous than the traditional northerner gained adherents in thepopular neighborhoodsof the region and, among other things, was also a source of socioeconomic and cultural segregation, as the tape shows.
Ulysses, at the age of seventeen, is the leader of a group of young people and children called Terkos, who spend their days dancing and singing Colombian cumbias in the face of the landscapes of social inequality, so common in Mexico.
The terms’ evenings through the colony are obscured by the arrival of another group of young people who, with more resources, intend to impose an order that is not typical of the reality of the neighborhood but of the criminal organizations that are gradually taking over everything in their path.
These new young people carry out a purge in the neighborhood and end everything that poses a threat to the drug trafficking plans, which, as we know, ended up dominating a good part of the national territory.
It is here that the film traces us back to the six-month period of the famous war on narco, which plunged the country into one of the bloodiest periods of contemporary history. However, this film seems to want to show us that, beyond the countless human and material losses resulting from this war, drug trafficking also managed to tear apart the culture and identity of the places it swept away.
After the threat of these armed groups, Ulysses has to stop being who he is in his place of origin to be another elsewhere. With their departure, the Terkos are increasingly swept away by the flow of violence and hope that comes with the disarticulation of the neighborhood at the hands of the narco.
On the other hand, his stay outside the country is a raw blow that repeats that there is also not welcome, because he is constantly mistreated by the Mexicans themselves with thosewho come to live, who mock his peculiar appearance and reaffirm time and again that there is no place for him.
The title I am no longer here, makes sense when, returning from his bad experience in the United States, Ulysses comes home and encounters a world other than the one he left behind, one in which the Terkos no longer exist and in which he too must cease to exist to ensure his survival.
The return of this Ulysses, whose odyssey was forced by organized crime, frames the meaning or integral of the tape; that is, Ulysses is no longer here because although it is, it can no longer be as before; so he leaves his Dress Kolombia, cuts his hair and seeks in that way to go unnoticed before the eyes of the groups that have “cleaned” the colony of chaos and Colombia’s..
The identity death of Ulysses is also the death of the ward; as well as the collapse of hope for young people in search of their place in the world, a world that changed the downgraded cumbias by machine guns, the sounding of gunmen and the Kolombia neighborhood for the new drug trafficking square.
I’m no longer here.