Question: Which theater of the United States' War on Drugs inspired the film "El Infierno"?

full_context: Document 1: List of Mexico's 37 most-wanted drug lords: This is a list of Mexico's 37 most-wanted drug lords as published by Mexican federal authorities on 23 March 2009. According to a "BBC Mundo" Mexico report, the 37 drug lords "have jeopardized Mexico's national security." As of 8 January 2016, 25 drug lords have been captured, eight have been killed and four remain fugitives.
Document 2: Hell (2010 film): El Infierno (English: Hell ) is a 2010 Mexican black comedy crime film produced by Bandidos Films, directed by Luis Estrada and following the line of "La ley de Herodes". The film is a political satire about drug trafficking, organized crime, and the Mexican Drug War. It has been a critical and commercial success in Mexico and was nominated for the 25th Goya Awards for Best Spanish Language Foreign Film.
Document 3: Hermanos de Pistoleros Latinos: Hermandad de Pistoleros Latinos (HPL, a.k.a. Pistoleros Latinos or Cuetes) is a Latino prison gang founded by Chino Avitia in Texas during the early 1980s. The English translation of the gang's name is "Brotherhood of Latin Gunmen". It operates in all Texas prisons and on the streets in many communities in Texas, particularly in Laredo. HPL is active throughout Mexico with its largest contingent in Nuevo Laredo. The gang is structured and is estimated to have 1,000 members. Members maintain close ties to several Mexican drug trafficking organizations and are involved in the trafficking of large quantities of cocaine and marijuana from Mexico into the United States for distribution.
Document 4: War on Drugs: The War on Drugs is an American term usually applied to the United States government's campaign of prohibition of drugs, military aid, and military intervention, with the stated aim being to reduce the illegal drug trade. This initiative includes a set of drug policies that are intended to discourage the production, distribution, and consumption of psychoactive drugs that the participating governments and the UN have made illegal. The term was popularized by the media shortly after a press conference given on June 18, 1971, by United States President Richard Nixon—the day after publication of a special message from President Nixon to the Congress on Drug Abuse Prevention and Control—during which he declared drug abuse "public enemy number one". That message to the Congress included text about devoting more federal resources to the "prevention of new addicts, and the rehabilitation of those who are addicted", but that part did not receive the same public attention as the term "war on drugs". However, two years prior to this, Nixon had formally declared a "war on drugs" that would be directed toward eradication, interdiction, and incarceration. Today, the Drug Policy Alliance, which advocates for an end to the War on Drugs, estimates that the United States spends $51 billion annually on these initiatives.
Document 5: Hell &amp; Heaven Metal Fest: Hell & Heaven Metal Fest (H&H, el Hell, or Festival Hell and Heaven) is an open air heavy metal music festival. It takes place annually during Fall or Spring, near Mexico City in Texcoco, located in the State of Mexico, in the central part of the country. With over 30,000 festival visitors, it attracts metal music fans of all subgenres including thrash metal, black metal, death metal, power metal, gothic metal, folk metal, and even metalcore, nu metal, hard rock from all over the world. The festival is mostly attended by a Mexican audience from all around the country, but attracts a large number of visitors from Central and South America, as well as fans from Europe and other parts of the world.
Document 6: Dirty War (Mexico): The Dirty War (Spanish: "Guerra Sucia" ) refers to the Mexican theater of the Cold War, an internal conflict between the Mexican PRI-ruled government, backed by the US, and left-wing student and guerrilla groups in the 1960s and 1970s under the presidencies of Luis Echeverría and José López Portillo. During the war, government forces carried out disappearances, estimated at 1,200, systematic torture, and "probable extrajudicial executions".
Document 7: Juárez Cartel: The Juárez Cartel (Spanish: "Cártel de Juárez"), also known as the Vicente Carrillo Fuentes Organization, is a Mexican drug cartel based in Ciudad Juárez, Chihuahua, across the U.S.-Mexico border from El Paso, Texas. The cartel is one of several drug trafficking organizations that have been known to decapitate their rivals, mutilate their corpses and dump them in public places to instill fear not only into the general public, but also into local law enforcement and their rivals, the Sinaloa Cartel. The Juárez Cartel has an armed wing known as La Línea, a Juarez street gang that usually performs the executions. It also uses the Barrio Azteca gang to attack its enemies.
Document 8: Los Zetas: Los Zetas (] , Spanish for "The Zs") is a Mexican criminal syndicate. Considered by the US government to be "the most technologically advanced, sophisticated, efficient, violent, ruthless, and dangerous cartel operating in Mexico", the organization has expanded beyond the traditional purview of drug trafficking and also runs profitable sex trafficking and gun running rackets. The origins of Los Zetas date back to the late 1990s when commandos of the Mexican Army deserted their ranks and began working as the enforcement arm of the Gulf Cartel. In February 2010, Los Zetas broke away from their former employer and formed their own criminal organization.
Document 9: Mexican Drug War: The Mexican Drug War (also known as the Mexican War on Drugs; Spanish: "guerra contra el narcotráfico en México" ) is the Mexican theater of the United States' War on Drugs, involving an ongoing low-intensity asymmetric war between the Mexican Government and various drug trafficking syndicates. Since 2006, when the Mexican military began to intervene, the government's principal goal has been to reduce the drug-related violence. The Mexican government has asserted that their primary focus is on dismantling the powerful drug cartels, rather than on preventing drug trafficking, which is left to U.S. functionaries.
Document 10: Mexikanemi: Mexikanemi is a gang known as the Texas Mexican Mafia, formed in the early 1980s in the Texan penal systems. It functions separately from the original California Mexican Mafia, and members consider themselves primarily tied to the area of Aztlán, formerly Mexican territories in the southwestern United States. The group engages in a wide range of illegal activities including drug trafficking, loan sharking, and money laundering.
Document 11: Horror films of Mexico: The rise of horror films in Mexico in the 1930s started with films like El fantasma del convento and Dos monjes from the writer-director Juan Bustillo Oro. Up until about the 1950s, moviehouses were mainly showing melodramas and westerns, which caused some trouble for Bustillo Oro. His films may have been popular, but they were not necessarily welcome on the big screen. As a result, his movies were associated with wrestling shows because of the outlandish costumes and makeup and the violent nature. Lucha libre, the term for professional wrestling in Mexico, became an important part of horror films in Mexico. Writers and producers would infiltrate the spooky aspects of horror films, like vampires, werewolves, and mummies, into the lucha libre films.
Document 12: Race and the War on Drugs: The War on Drugs is a term for the actions taken and legislation enacted by the United States government, intended to reduce or eliminate the production, distribution, and use of illicit drugs. The War on Drugs began during the Nixon Administration, with the goal of reducing the supply of and demand for illegal drugs, though an ulterior, racial motivation has been proposed. The War on Drugs has led to controversial legislation and policies, including mandatory minimum penalties and stop-and-frisk searches, which have been suggested to be carried out disproportionately against minorities. The effects of the War on Drugs are contentious, with some suggesting that it has created racial disparities in arrests, prosecutions, imprisonment and rehabilitation. Others have criticized the methodology and conclusions of such studies. In addition to enforcement disparities, some claim that the collateral effects of the War on Drugs have established forms of structural violence, especially for minority communities.
Document 13: Comedy in the Golden Age of Mexican cinema: Film became popular and well known in Mexico during “El Porfiriato” which represents the reign of Porfirio Díaz as dictator in Mexico. On August 6, 1896 the first films began to be released and were called/known as “Vistas”. In other words, views. At the time, the Catholic Church and the press were strongly opposed to the “vistas” because of the violence and women that was portrayed. They protested against them. Another important aspect was the projection of the Mexican Revolution to the public through film. It was a way for many to understand what was happening politically. Many agree that rather than the Mexican Revolution being a repression for the film industry, it was more of a motivator in the way it portrayed every battle and struggle. With the positive energy that the Mexico’s film industries was receiving, it began to evolve into “El Cine Sonoro” which translates to the cinema of sound. This was the era in which sound was being added into the silent films. Sadly, it was not as successful as many directors and film maker though it would be. Many failed to correctly synchronize the audio with the picture. Although to some extent it may have been unsuccessful, it is agreeable that it helped revolutionize film in Latin America. Mexico’s film industry takes its height post “El Cine Sonoro” to what is known as “The Golden Age”. Many film members consider this one of the most successful eras in the history of Mexican cinema. Many recognize the films of this era when they see black and white. It is also important to note that the films also portrayed social issues. Some of the most influential directors and actors are Emilio Fernández, Raul De Anda, Roberto B. Cervenna, Cantinflas, Vitola, Tin Tan, etc. The focus of this article will be on some of top grossing comedian actors of the time Cantinflas, Tin Tan, Clavillazo and others.
Document 14: Silent Light: Silent Light (Plautdietsch: "Stellet Licht"; Spanish: "Luz silenciosa" ) is a 2007 film written and directed by Carlos Reygadas. Filmed in a Mennonite colony close to Cuauhtémoc, Chihuahua State, Northern Mexico, "Silent Light" tells the story of a Mennonite married man who falls in love with another woman, threatening his place in the conservative community. The dialogue is in Plautdietsch, the Low German dialect of the Mennonites. The film was selected as the Mexican entry for the Best Foreign Language Oscar at the 80th Academy Awards, but it did not make the shortlist. The film was nominated for Best Foreign Film at the 24th Independent Spirit Awards. It gained nine nominations, including all major categories, in the Ariel Awards, the Mexican national awards.
Document 15: Nicolas Entel: Nicolas Entel is a filmmaker. He was born in Buenos Aires, Argentina in 1975, and lives in Brooklyn, NY. His latest project is the documentary "Sins of My Father", which tells the story of Colombian drug kingpin Pablo Escobar through the eyes of his only son, as well as the sons of his most prominent victims. It was produced in association with Arie Kowler, Renegade Pictures, Arte/ZDF, RCN, National Geographic and Channel 4; and developed with the support of Berlinale, Hot Docs/Toronto Film Forum and IDFA’s Jan Vrijman Fund. Previously, Nicolas directed the multiple-award-winning documentary film "Orquesta Tipica". He is also a founding partner in Red Creek Productions, one of the largest Latino-owned production companies in the US. Red Creek has offices in New York City, Buenos Aires and San Jose de Costa Rica, and has provided production services for the likes of Discovery Channel, BBC and Turner Networks, produced hundreds of spots for such clients as Nike, Honda, Nissan and Motorola, as well as music videos for such artists as KT Tunstall and Wyclef Jean.
ground_truth: The Mexican Drug War