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Demián Bichir Presented MUJER SANTUARIO at the 24th FICM

Omar Sosa

As part of the 24th Morelia International Film Festival (FICM), the local audience gathered for Mujer santuario (2026, Dir. Alan Domínguez), presented by Mexican actor and the film’s producer, Demián Bichir, alongside Chicana editor Andrea Cruz.

Daniela Michel, the festival’s founder and director, welcomed the Mexican actor, who was greeted with applause by a packed theater. Bichir expressed his happiness at “being back in Morelia” to present this film, as well as Without Blood (2024, Dir. Angelina Jolie). He thanked those in attendance at the screening on behalf of the director, Alan Domínguez.

For the producer, telling this story is particularly relevant given the brutal, excessive, and unjustified attacks against migrants in the United States. “We continue to be cannon fodder, it’s exactly the same for both sides, and whenever elections roll around, we’re always the favorite topic,” the actor noted, highlighting that it is the labor of undocumented individuals that allows states like California to maintain their immense potential.

Regarding Cruz’s editing, he remarked that it was her work with the footage that elevated the narrative’s power to a much higher level. He also invited the audience to remain in the theater after the short film concluded to share ideas, reflections, and questions.

Mujer santuario presents the intimate story of Jeanette Vizguerra, captured through exclusive access and a cinéma vérité approach. The documentary follows her life as a mother and activist who sought sanctuary in a church in 2017 to avoid deportation. Faced with an increase in ICE operations in 2025, Jeanette must decide whether to remain in silent hiding or risk everything to stay with her family and community.

To begin the conversation, Andrea Cruz remarked: “I’m from Michoacán, from a town called Tingüindín about four hours away, and I grew up in Los Angeles. Meeting Alan, the director, was a great opportunity for me to edit a film like this, but it was also incredibly difficult.” She found the strength and ideas to complete the project in the very story of Janet, who remained in detention throughout the time Cruz was editing.

Addressing questions about the obstacles faced by a Mexican professional working in acting and production in the United States, Bichir noted that getting a film off the ground is an immense challenge, regardless of the location or budget. “At its core, saying ‘action’ is the same beast. What changes is the amount of time you have to shoot,” he commented. Regarding the challenge of acting in another language, he shared that he had to move to New York at age 22 to learn English—a jarring encounter with reality that he overcame through sheer stubbornness.

Finally, when asked about the process of handling such sensitive subject matter and how she protects her energy and mental health while editing, Andrea Cruz shared some of her self-care and work routines. “To manage my energy and mental health, I go for walks, make dinner, and then head out for another walk to give myself space to think,” she explained. She also described using visual methods, such as writing on colored postcards, to structure the documentary and map out its emotional arc. A technique that helped her navigate ten-hour workdays.