On the occasion of the 25th anniversary of his death in 2019, Netflix released two limited series focused on Mexican presidential candidate Luis Donaldo Colosio and his assassination. 1994 (directed by Diego Enrique Osorno) and Crime Diaries: The Candidate (Historia de un crimen: Colosio, directed by Hiromi Kamata and Natalia Beristáin) are, respectively, a documentary series and a drama, both delving into the political conjuncture surrounding both Colosio’s candidacy and the investigations subsequent ...
On the occasion of the 25th anniversary of his death in 2019, Netflix released two limited series focused on Mexican presidential candidate Luis Donaldo Colosio and his assassination. 1994 (directed by Diego Enrique Osorno) and Crime Diaries: The Candidate (Historia de un crimen: Colosio, directed by Hiromi Kamata and Natalia Beristáin) are, respectively, a documentary series and a drama, both delving into the political conjuncture surrounding both Colosio’s candidacy and the investigations subsequent to his assassination. Since his dramatic death, the image of Colosio has maintained its associations with heroism and his unrealized presidency has come to embody the “México que no fue,” a radically innovated Mexican state that never was and, possibly, will never be. Both series rely on the exploitation of original footage and underlying political takes on the events. This analysis will critically compare the two series from three main thematic perspectives: the Mexican political context at the time of the assassination; Colosio’s characterization and private life; and the procedural aspects of the investigations.
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On the occasion of the 25th anniversary of his death in 2019, Netflix released two limited series focused on Mexican presidential candidate Luis Donaldo Colosio and his assassination. 1994 (directed by Diego Enrique Osorno) and Crime Diaries: The Candidate (Historia de un crimen: Colosio, directed by Hiromi Kamata and Natalia Beristáin) are, respectively, a documentary series and a drama, both delving into the political conjuncture surrounding both Colosio’s candidacy and the investigations subsequent ...
On the occasion of the 25th anniversary of his death in 2019, Netflix released two limited series focused on Mexican presidential candidate Luis Donaldo Colosio and his assassination. 1994 (directed by Diego Enrique Osorno) and Crime Diaries: The Candidate (Historia de un crimen: Colosio, directed by Hiromi Kamata and Natalia Beristáin) are, respectively, a documentary series and a drama, both delving into the political conjuncture surrounding both Colosio’s candidacy and the investigations subsequent to his assassination. Since his dramatic death, the image of Colosio has maintained its associations with heroism and his unrealized presidency has come to embody the “México que no fue,” a radically innovated Mexican state that never was and, possibly, will never be. Both series rely on the exploitation of original footage and underlying political takes on the events. This analysis will critically compare the two series from three main thematic perspectives: the Mexican political context at the time of the assassination; Colosio’s characterization and private life; and the procedural aspects of the investigations.
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On the occasion of the 25th anniversary of his death in 2019, Netflix released two limited series focused on Mexican presidential candidate Luis Donaldo Colosio and his assassination. 1994 (directed by Diego Enrique Osorno) and Crime Diaries: The Candidate (Historia de un crimen: Colosio, directed by Hiromi Kamata and Natalia Beristáin) are, respectively, a documentary series and a drama, both delving into the political conjuncture surrounding both Colosio’s candidacy and the investigations subsequent ...
On the occasion of the 25th anniversary of his death in 2019, Netflix released two limited series focused on Mexican presidential candidate Luis Donaldo Colosio and his assassination. 1994 (directed by Diego Enrique Osorno) and Crime Diaries: The Candidate (Historia de un crimen: Colosio, directed by Hiromi Kamata and Natalia Beristáin) are, respectively, a documentary series and a drama, both delving into the political conjuncture surrounding both Colosio’s candidacy and the investigations subsequent to his assassination. Since his dramatic death, the image of Colosio has maintained its associations with heroism and his unrealized presidency has come to embody the “México que no fue,” a radically innovated Mexican state that never was and, possibly, will never be. Both series rely on the exploitation of original footage and underlying political takes on the events. This analysis will critically compare the two series from three main thematic perspectives: the Mexican political context at the time of the assassination; Colosio’s characterization and private life; and the procedural aspects of the investigations.
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