In his latest documentary, “Mollusk” (“Molusco”), Mauricio Bidault captures the complex fusion of rebelliousness, shyness, and self-doubt that characterized the life of renowned Mexican graphic artist José Ignacio Solórzano, better known as Jis. This thought-provoking film delves into the life and times of this legendary figure.
The movie “Bidault” (Until the End of Days) will make its premiere on June 13 at the 40th Guadalajara International Film Festival (FICG). This production is by Erredoce Cine. Within Mexico, Alfhaville Cinema will handle national distribution, while international sales are yet to be finalized.
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“Bidault (Until the End of Days) premieres at the 40th Guadalajara International Film Festival on June 13. Produced by Erredoce Cine, it will be distributed nationally by Alfhaville Cinema in Mexico, and worldwide distribution is still being negotiated.
Boldly, yet tenderly, Jis stirred the peaceful, traditional society of Guadalajara with his raw, unconventional artistry. He embodies the spirit of rebels, outcasts, and philosophical anti-heroes who explore their lives through their work and subsequently pass on their bewilderment, fear, joy, and sorrow to the audience. In a brief span of nearly two hours, it appears that his life’s story could have been even longer, as capturing a lifetime in one film is no easy task.
During the editing phase, it’s like the material is leading you and shaping its perfect form as if it has a mind of its own. The difficult part was that with such articulate contributors who had unique insights and visions, we had an abundance of valuable content to work with. We had to carefully select which pieces truly fit the story and the world we aimed to portray. I refer to this painstaking process as ‘distillation’ in the editing stage,” Bidault explained to EbMaster.
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“The editing process was incredibly engaging because it felt like the material was guiding itself and taking on its ideal shape, almost as if it had a life of its own. The hard part came when dealing with such articulate participants who provided us with a wealth of unique and valuable content. We had to carefully decide which parts truly belonged in the story we wanted to tell. I call this detailed process ‘distillation’ during the editing stage,” Bidault said to EbMaster.
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“In the editing phase, it seemed as though the material was shaping itself and finding its best form, as if it had a will of its own. The challenge lay in sorting through all the valuable content provided by our articulate participants with their unique perspectives and ideas. I refer to this meticulous process as ‘distillation’ during the editing stage,” Bidault explained to EbMaster.
With their loyal friend and colleague Trino Camacho by their side, Jis achieved notoriety when they jointly produced a series of bold comics titled “El Santos.” These stories were filled with outlandish plots, graphic depictions of sex, drugs, and everyday details. Gaining a devoted fanbase, the narratives eventually evolved into the biting animated film “El Santos contra la Tetona Mendoza,” which was released in 2012. Guillermo del Toro and Cheech Marin lent their voices to this project, which subsequently screened at Annecy the following year.
One of the most moving moments in the documentary unfolds when Jis and Trino share memories of their achievements over a shared bottle of wine, their eyes shining brightly with sincere smiles stretching from ear to ear. They reflect on their fruitful partnership, marveling at how their unique brand of humor resonated with so many people. The connection between them is tangible as they continue to bring out the best in each other, much like children stirring up excitement and mischief.
The movie reveals more about the artist’s impact, bringing together a diverse array of talented individuals to analyze the effects of his life, work, unusual methods, and personality. Guillermo del Toro, Diego Luna, and Argentine cartoonist Liniers are some of those who join the artist’s close friends and family on screen.
Things unfolded quite naturally during the planning process for our documentary. Characters like Jis and Trino, who are well-established and dearly loved, were at the center of it all. As we considered potential participants, names of friends who seemed fitting kept emerging, as if deciding on guests for a party. It just so happened that these friends included Guillermo del Toro, a contemporary and fellow resident of Guadalajara; Daniel Giménez Cacho, who had lent his voice to ‘El Santos’ in the film; Liniers, a cartoonist friend; and many more. In the end, the film became a vibrant conversation among artists, musicians, designers, friends, and family members about Jis and various contemporary issues.” – Bidault explained.
Jis, a character filled with melancholy, mischief, depth, and indulgence all at once, created a world of his own that served as a sanctuary for the worn-out and delightfully corrupt. Bidault didn’t just observe from the outside, but sought to connect with the artist on a personal level, which helped guide the film towards revealing Jis’s unique quirks and fixations. With a playful and youthful demeanor, Bidault intertwined seamlessly with the tormented artist, often capturing daily observations in his sketches and discussing life’s casualties and mysteries alongside Trino on their podcast La Chora Interminable.
Bidault expressed that great art remains ever-fresh because it continually reveals fresh insights, even as the work itself stays the same. He added that youth is a period marked by a clear sense of direction, yet an awareness of future possibilities; it’s a time filled with energy and fervor.
Jis stands out because, even at over sixty years old, he maintains a curious, observant eye for everything around him without losing his sense of amazement. This balance between what he perceives versus what one might expect from an ‘ordinary’ person is what makes his humor and art powerful and relatable, challenging the norms of conventional caricature and leading readers to unforeseen mental territories. In summary, his gaze remains youthful and his artwork, ageless.
For beginners exploring his art and longtime admirers alike, the movie delves into a profound discussion about the sanitization of art, as the artist’s work may not appear overtly political but consistently challenges societal norms. In an artistic world that often strips human complexity in a manufactured moral crusade, silencing independent thought in favor of repetitive ideologies, the group ponders the consequences of such actions on genuine advancement and balances adapting to naturally shifting social currents with the necessity of unrestricted creative freedom.
According to Bidault, life isn’t like a purchase on Instagram, where everything needs to be quick, easy, and instantly gratifying. Recently, it feels as though everything must be easily categorized, quickly judged as good or bad without much thought. This trend can be observed in the changes we’ve witnessed in our world recently.
In essence, life can be intricate and uncertain, filled with numerous facets and unexpected events that defy easy classification. At times, it requires us to buck trends. Art and humor help us break free from restrictive boundaries by stimulating laughter, critical thought, and non-conformity. This allows us to contemplate the world in new perspectives, fostering personal and societal growth. Essentially, this is the core message of ‘Mollusk.’
The film titled “Mollusk” was financed with assistance from various entities including the Mexican Film Institute via their Film Promotion Program (Focine), the government of the state of Jalisco, the Trust of the Film Commission of the State of Jalisco, and the Ministry of Culture through their Proyecta Production program.
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2025-06-09 15:48