2022 | Color | 30:15 Elena, a Tsotsil woman from San Andrés Larraínzar, Chiapas, is challenged by the uses and customs of her people when an almost entirely male community assembly appoints her as a municipal trustee. As an authority, she introduces us to the complexity of the system of sociopolitical organization in San Andrés. During her term of office, the traditional practice of masculinity begins to be questioned. Country: México Direction: Gómez Sántiz; Florencia Script: Gómez Sántiz; Florencia Production: Contreras; Daniela, Défossé; Nicolás Photography: Domínguez González; Juan Carlos, López Gómez; Ángel, Sero; Xun Sound: Martínez Ruiz; Bryan Jaredt, Kak; Saul, Pérez; Juan Javier, De Torcy; Martin Participation year at FICM: 2022
2022 | Color | 30:15 Elena, a Tsotsil woman from San Andrés Larraínzar, Chiapas, is challenged by the uses and customs of her people when an almost entirely male community assembly appoints her as a municipal trustee. As an authority, she introduces us to the complexity of the system of sociopolitical organization in San Andrés. During her term of office, the traditional practice of masculinity begins to be questioned. Country: México Direction: Gómez Sántiz; Florencia Script: Gómez Sántiz; Florencia Production: Contreras; Daniela, Défossé; Nicolás Photography: Domínguez González; Juan Carlos, López Gómez; Ángel, Sero; Xun Sound: Martínez Ruiz; Bryan Jaredt, Kak; Saul, Pérez; Juan Javier, De Torcy; Martin Participation year at FICM: 2022
Our Perpertual Now A man edits one last conversation in his memory in order to say goodbye to the woman he loved and lost. See More
Ismael Rodríguez and Hollywood 05 · 15 · 24 There is no one like mom. Mexico: atypical maternities in the 20th century 05 · 09 · 24 Farewell Laurent Cantet: two of his early films 05 · 02 · 24 El Festival Internacional de Cine de Morelia presentará una función especial en la 63ª Semana de la Crítica de Cannes 04 · 18 · 24
El Festival Internacional de Cine de Morelia presentará una función especial en la 63ª Semana de la Crítica de Cannes 04 · 18 · 24
