No me provoquen: Breaking the Palace

No Me Provoquen: Breaking The Palace - Trailer (Español)

La audaz historia de María Esther Pozo, una funcionaria cultural que, contra todo pronóstico, logró lo que parecía imposible: llevar a Juan Gabriel al Palacio de Bellas Artes. En 1990, tras quedar impactada por la "locura colectiva" que el cantante generaba en sus palenques, María inició una cruzada personal que transformaría el panorama cultural del país, luchando contra prejuicios, negativas oficiales y obstáculos logísticos aparentemente insuperables. Un documental con las voces de las personas que lograron el baile más sabroso en la historia de Bellas Artes. 

No Me Provoquen: Breaking The Palace - Trailer (English)

The bold story of María Esther Pozo, a cultural administrator who, against all odds, achieved what seemed impossible: bringing Juan Gabriel to Mexico's Palace of Fine Arts. In 1990, after being captivated by the "collective madness" the singer generated at cockfighting venues, María launched a personal crusade that would transform the country's cultural landscape, fighting against prejudice, official rejections, and seemingly insurmountable logistical obstacles. A documentary featuring the voices of the people who created the most joyful celebration in Bellas Artes history. Sonoro...

Credits

Acknowledgments and thanks to all the people who made this production possible.

Chapter 4. Oh, I believe in yesterday

The finale reveals the cultural and emotional impact of the first four historic concerts at the Palace. Through testimonies from National Symphony Orchestra musicians, we discover how audiences and artists themselves experienced a transformative moment, especially during the performance of "Hasta que te conocí" and the emotional "Amor eterno" on Mother's Day. We also reveal the story of the tablecloth autographed by Juan Gabriel that María treasured until losing it in a personal tragedy. The episode reflects on the legacy of these concerts that opened Bellas Artes' doors to popular culture and poses the question of which other popular artists would now deserve this stage.

Chapter 3. Four concerts and two funerals

The intense preparations and last-minute obstacles before the historic concert. With just days until the debut, organizers face multiple crises: the principal conductor refuses to direct, sheet music arrives in dribs and drabs, and coincidentally, the funeral of one of the most respected men among the conservative elite occurs at the same Palace during the only scheduled rehearsal. Tension escalates when the Presidential Security detail requests that Juan Gabriel greet the president after the show, a request the artist rejects with a memorable response. The episode culminates with a strike threat from Bellas Artes technical staff, which jeopardized the first show in May 1990.