Maquilapolis: City of Factories Activism for Low-Wage Workers in Mexico
Carmen Duran works the graveyard shift in one of Tijuana's 800 maquiladoras; she is one of six million women around the world who labor for poverty wages in the factories of transnational corporations. After making television components all night, Carmen comes home to a dirt-floor shack she built out of cast-off garage doors from the U.S., in a neighborhood with no sewage lines or electricity. She suffers from on-the-job kidney damage and lead poisoning from her years of exposure to toxic chemicals. She earns six dollars a day on which she must support herself and her three children.
Starting in the 1980s the U.S. and Mexican governments initiated a trade agreement allowing components for everything from batteries, IV tubes, toys to clothes to be imported duty-free into Mexico, assembled there and then exported back duty-free as finished consumer goods for sale in the U.S. Tijuana became known as the television capital of the world, 'TV-juana.' Globalization promised jobs, and working class Mexicans uprooted their lives to flock to the northern frontier in search of better paying work. After a decades long boom in 2001, Tijuana suffered a recession as corporations chased after even cheaper labor in Asia. When the Sanyo plant where Carmen worked for six years moved to Indonesia, they tried to avoid paying the legally mandated severance pay. Carmen became a promotora, or grassroots activist, challenging the usual illegal tactics of the powerful transnationals that are poisoning their workers and the barrios they inhabit.
"By making women themselves an integral part of the filmmaking process the director enables them to successfully tackle challenges many would consider hopeless. Refusing pity, these women exhibit a determination and faith in the future that can only be described as uplifting." - Jay Weissberg, Variety
"A portrait of the perils of globalization that admirably seeks new forms of expression...a stirring work that'll provoke genuine outrage. - The New York Times
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Comments (1)
A very moving documentary. It employs some very creative ways of emphasizing the subject, collaborating with the women through movement and theatrical means.