BTN News: Mexican director Manolo Caro, known for his popular Netflix series ‘La casa de las flores’ and ‘Sagrada familia,’ recently sat down with journalist Mariola Cubells for the program ‘¿Y tú qué miras?’ In this conversation, Caro delved into his experiences in the entertainment industry, sharing insights into the challenges and triumphs he has faced throughout his career. One of the more striking observations Caro made was about the difference between the audiovisual industries in Spain and Mexico. He candidly expressed his thoughts on how, in Mexico, winning awards doesn’t necessarily translate to widespread recognition or impact, since, as he put it, “people don’t even watch them.”
Caro, who has become a household name, reminisced about the first time he was recognized on the street. This moment was a significant milestone, marking his transition from a behind-the-scenes creator to a public figure. Despite his success, Caro remains reflective about the peculiarities of fame and the disconnect that sometimes exists between critical acclaim and public acknowledgment, particularly in his home country.
In Mexico, where the entertainment industry is vast and diverse, Caro notes that awards and critical success often don’t carry the same weight as they might in other markets. This, he suggests, is due to a variety of factors, including the viewing habits of the public and the types of content that gain popularity. The Mexican audience, according to Caro, tends to gravitate towards certain genres and formats, which may not always align with the types of projects that are typically recognized by award bodies.
This reality presents a unique challenge for filmmakers and creators like Caro, who strive to push boundaries and create content that is both innovative and meaningful. The lack of recognition can be disheartening, yet Caro remains committed to his craft, driven by a passion for storytelling rather than the pursuit of accolades. He reflects on the role that awards play in an artist’s career, acknowledging that while they can open doors and provide validation, they are not the ultimate measure of success.
The differences between the Spanish and Mexican entertainment industries also extend to the way content is consumed and appreciated. In Spain, Caro observes, there seems to be a greater appreciation for diverse and experimental narratives, which is reflected in the types of projects that gain both critical and commercial success. This environment, he notes, allows for a broader range of stories to be told and for artists to take more risks in their work.
Caro’s experience working in both Spain and Mexico has given him a unique perspective on the global entertainment landscape. He recognizes the importance of cultural context in shaping the reception of his work and remains attuned to the shifting dynamics of the industry. Despite the challenges, Caro continues to push forward, creating content that resonates with audiences on both sides of the Atlantic.
Ultimately, Caro’s insights offer a valuable look into the realities of working in the entertainment industry, particularly in regions where the relationship between critical acclaim and public recognition can be complex. His reflections serve as a reminder that, for creators, the true reward often lies in the act of creation itself, rather than in the external validation that may or may not follow.
