Impulso Morelia 6 SELECTION Los amantes se despiden con la mirada FictionDir. Rigoberto PerezcanoProduction Company: Tiburón FilmesLeobardo, a father who lives in the valley of Oaxaca with his eleven-year-old son Olivo, faces his imminent death with fear. For this reason, Leobardo undertakes an initiatory journey for his son. Years later, Leobardo's soul will accompany Olivo in his adult life, as a silent witness of his experiences and passions on earth. Cruz DocumentaryDir. Teresa Camou GuerreroProduction: Teresa Camou Guerrero, Jenny MügelCruz, an indigenous Rarámuri from the Sierra Tarahumara in Mexico, and his family were dispossessed of their land by drug traffickers when they refused to switch from corn to poppy. Since then they have lived displaced and under death threats, desperately seeking justice so they can return to their place of origin. Dante y Soledad Fiction, First FilmDir. Alexandra de la MoraProduction Company: Películas Bomba, Woo FilmsInés stops working to devote herself entirely to her first daughter because, unlike her own mother, she wants to be present. Lack of sleep and Layla's pressing demands create confusion. Her husband tries to accompany her, but the only space where Agnes finds refuge is in her aquarium. The tension between the lost life and the uncertain future forces her to decide between the shipwreck and the path of her new identity. Mamá Documentary, First FilmDir. Juan Antonio Méndez RodríguezProduction Company: Terra Nostra FilmsAs a Tsotsil Mexican I grew up between the sacredness of the Virgin of Guadalupe and Mother Earth. As the son of a single mother, I grew up between mockery for not having a father and blaming my mother for it. I grew up between adoration and contempt for my mother. Mama is a dialogue between mother and son who explore their contradictions; who know and recognize each other, and who reflect on naturalized violence and its reproduction. To be and become a family. Travesías FictionDir. Sergio Flores ThorijaProduction Company: Leap of Faith CineAlejandra and Victor live under contrasting circumstances in a city that is artificially divided in two by a wall: Tijuana and San Diego. Each has a definite plan in mind for their future, but a tragedy forces them to embark on a journey to the other side of their respective borders, a journey that leads them to reflect on their origins and identity. Los vecinos FictionDir. Diana CardozoProduction Company: Agalma, Foprocine IMCINELuis sees the murder of his neighbors and the indifference of others. The looting of the victims' house. The meanness of his father, who appropriates an armchair. Father and son will try to sell it in another town. They'll have to cross the mountain on a bicycle with a pulling cart with an armchair on it. In a few days, Luis witnesses the mystery of death, the fragility of adults, the wonder of time, and the learning of masculinity. Cartas a distancia Documentary*Dir. Juan Carlos RulfoProduction Company: La Media Luna, Península FilmsAt Hospital 27 in Tlatelolco, people infected with COVID-19 are isolated and lose all contact with the outside world. For this reason, a group of nurses developed a system to exchange letters and videos that will bring the patients closer to their families where they reflect on their lives, opportunities, the pandemic, and love, opening through words a door to hope.*Not competing for the José María Riba Award. PANEL OF EXPERTS Bertha Navarro A promoter of Ibero-American cinema, she began her film career in documentary filmmaking at the end of the sixties and, soon after, directed her work as a producer to fiction. In 1972, she began filming her first feature film: Reed, México Insurgente, directed by Paul Leduc and one of the first independent films in Mexico. The movie was awarded the Georges Sadoul award in France, Directors’ Fortnight at Cannes in 1973. Since then she has produced important films in the history of Ibero-American cinema, including Cronos, The Devil’s Backbone and Pan’s Labyrinth by Guillermo del Toro, Cabeza de Vaca by Nicolás Echevarría, Un Embrujo by Carlos Carrera, La Fiebre del Loco by Andrés Wood and Crónicas by Sebastián Cordero. She recognised and supported talent in numerous debut films. Her films have traveled the world of international festivals and many of them have earned important awards.Her conviction that the primary role of cinema is to tell a good story, she has made the Laboratory of Cinematographic Scripts a possibility. This collaboration between the Sundance Institute, the Guadalajara International Film Festival and the Morelia International Film Festival has helped many talented Mexican and Latin American directors and scriptwriters with their work. She also created the Music for Film Lab and in 2012, she started the Actor-Director Lab, where directors have the opportunity to explore their work with actors in-depth.As a tribute and recognition to her extensive and notable career in Ibero-American cinema, the Guadalajara International Film Festival awarded her the Mayahuel de Plata in 2008. Among other accolades, she received the Ariel de Oro from the Academy of Arts and Cinematographic Sciences in 2015, as well as El Coral from the Havana Festival in 2018.Bertha Navarro has served as a jury in numerous film festivals, including the Locarno Film Festival, Lima Film Festival and the Guadalajara International Film Festival, among others. Jorge Fons Mexican filmmaker with a celebrated career in which the following films stand out: Nosotros (Ariel as Best Director), Los Cachorros (Best Foreign Film by the New York Association of Cinematographic Journalists), Caridad (Diosa de Plata “Francisco Pina”), Los Albañiles (Silver Bear Best Director at the Berlin Film Festival), Así es Vietnam (Gold Lotus in Hanoi, Coral de Plata from the Havana Festival, Ariel de Plata), Rojo Amanecer (Special Jury Prize at the San Sebastián Festival, nine Ariel Awards including Best Film and Best Director and three Silver Goddesses) and El Callejón de los Milagros, which, among many other distinctions, won the Goya for Best Spanish-Speaking Foreign Film, the Silver Spike for Best Director at the Valladolid Festival in Spain, a Special Mention at Berlinale, the Audience Award of the Chicago Film Festival and eleven Ariel Awards, including Best Film and Best Director.Jorge has been a Fellow of the National System of Art Creators, CONACULTA, and the John Simon Guggenheim Memorial Foundation. He has received numerous distinctions, including the Medal of Merit awarded by the Mexican Society of Directors, the Ariel de Oro for his professional trajectory, the National Prize for Sciences and Arts and the Ingmar Bergman Chair Medal awarded by UNAM.In addition to his artistic work being the focus of tributes and retrospectives at various international film festivals (Guadalajara, Guanajuato, Havana, Bogotá, Trieste, Marseille, Toulouse, Huelva, Valladolid), Jorge Fons has been a judge in multiple competitions and has taught classes and workshops in filmmaking at various film schools both in Mexico and abroad. Vicente Canales Vicente Canales started his career in 1998 at the Spanish distribution, production and sales company, Filmax. He gained experience in development and marketing, finally discovering his vocation in the international sales department, where he was in charge of selling the Rec franchise, The Machinist by Brad Anderson and many more.Over the following years, he acquired a deep knowledge of the industry and, in 2010, Canales left Filmax to start his own company, Film Factory Entertainment, soon achieving a leading position in the international sale of Spain’s most important productions.Film Factory Entertainment is an independent international sales agency based in Barcelona, Spain. The company works with a selective slate, choosing Spanish films with the highest international potential and also collaborating with Europe and Latin America’s most prominent production companies. Eugenio Caballero Academy Award winning production designer of Guillermo de Toro’s Pan’s Labyrinth. Eugenio’s work on the film also earned him an Ariel Award, as well as the Art Directors’ Guild Award (the most prestigious award in his field), Los Angeles Film Critics Association Award, the Gold Derby Award” the Online Film Critics Association, Goya, Satellite, Las Vegas Film Critics Society Award and BAFTA Award nominations.Born in Mexico City and after studying History of Art and History of Cinema in Florence, Italy, Caballero began his career as a production designer in Mexico, with award-winning work on music videos (MTV award) and short films. Soon he started to work in feature films as an assistant, and a set decorator.Eugenio Caballero’s credits include near 30 films, 20 of them as a designer. He has worked with directors Jim Jarmusch (The Limit of Control), Baz Lurthman (Romeo and Juliet), Alfonso Cuarón‘s Roma, Sebastián Cordero (Crónicas, Rabia and Europa Report), Floria Sigismondi (The Runaways), Claudia Llosa (Aloft), Fernando Eimbcke (Club Sandwich), Carlos Cuarón (Rudo y Cursi), Russel Mulcahy (Resident Evil Extinction), among others.His first collaboration with J.A.Bayona on The Impossible, starring Naomi Watts, Ewan MacGregor and Tom Holland, earned him a Goya nomination and an Art Directors Guild nomination in 2013.In 2014 Eugenio designed the Paralympic Opening Ceremony of the Sochi Winter Olympics, for director Daniele Finzi, with whom he had also collaborated with the Cirque du Soleil in the show Luzia in 2016.In 2015 and 2016 he worked on the film A Monster Calls directed by J.A. Bayona, based on the multi awarded book by Patrick Ness which earned him a Goya on his third nomination to this award. He received the Gaudi Award, the Fenix Award and the Platino Award for the same film.In 2017-2018 he designed the film Roma working alongside with the director Alfonso Cuarón, for this work he has ea rned multiple international awards and nominations, including the Critics Choice Awards, the Art Directors’ Guild, the BAFTAs and the Academy Award. Eugenio Caballero has been nominated seven times for the Ariel award -Mexico’s main film award – from which he has won two.Eugenio has served as a Jury member on numerous international festivals and he is a member of the AMPAS (Academy of Motion Picture Arts and Sciences), the Mexican and Spanish film academies. ACKNOWLEDGMENTS The José María Riba Award bestowed by Cinépolis Distribución consists in a cash incentive of $150,000 MXN destined to post-production services and/or promotion. This incentive will be awarded by the international experts’ panel and will be delivered no later than June 2022.Specialized information web portal LatAm cinema.com offers to the winner of the José María Riba Award a promotional campaign, which includes one advertising page in one of the magazine’s numbers, with an approximate cost of USD$1,500.Icunacury Acosta & Co. offers a year of accompaniment in public relations.José María Riba Award Winner: CRUZ, by Teresa CamouEstudios Churubusco will give an award of $800,000 MXN in post-production and TXH sound services to one of the projects. This support does not include materials, operators and Dolby license. It is valid for two years, starting from the date granted.Winner: LOS AMANTES SE DESPIDEN CON LA MIRADA, by Rigoberto PerezcanoThe post-production studio Splendor Omnia will give an award consisting in one week of sound mix and another of color correction, with an approximated value of $243,000 MXN. This support does not include accommodation expenses nor technicians fees. It is valid for two years, starting from the date granted.Winner: CARTAS A DISTANCIA, by Juan Carlos Rulfo.
SELECTION Los amantes se despiden con la mirada FictionDir. Rigoberto PerezcanoProduction Company: Tiburón FilmesLeobardo, a father who lives in the valley of Oaxaca with his eleven-year-old son Olivo, faces his imminent death with fear. For this reason, Leobardo undertakes an initiatory journey for his son. Years later, Leobardo's soul will accompany Olivo in his adult life, as a silent witness of his experiences and passions on earth. Cruz DocumentaryDir. Teresa Camou GuerreroProduction: Teresa Camou Guerrero, Jenny MügelCruz, an indigenous Rarámuri from the Sierra Tarahumara in Mexico, and his family were dispossessed of their land by drug traffickers when they refused to switch from corn to poppy. Since then they have lived displaced and under death threats, desperately seeking justice so they can return to their place of origin. Dante y Soledad Fiction, First FilmDir. Alexandra de la MoraProduction Company: Películas Bomba, Woo FilmsInés stops working to devote herself entirely to her first daughter because, unlike her own mother, she wants to be present. Lack of sleep and Layla's pressing demands create confusion. Her husband tries to accompany her, but the only space where Agnes finds refuge is in her aquarium. The tension between the lost life and the uncertain future forces her to decide between the shipwreck and the path of her new identity. Mamá Documentary, First FilmDir. Juan Antonio Méndez RodríguezProduction Company: Terra Nostra FilmsAs a Tsotsil Mexican I grew up between the sacredness of the Virgin of Guadalupe and Mother Earth. As the son of a single mother, I grew up between mockery for not having a father and blaming my mother for it. I grew up between adoration and contempt for my mother. Mama is a dialogue between mother and son who explore their contradictions; who know and recognize each other, and who reflect on naturalized violence and its reproduction. To be and become a family. Travesías FictionDir. Sergio Flores ThorijaProduction Company: Leap of Faith CineAlejandra and Victor live under contrasting circumstances in a city that is artificially divided in two by a wall: Tijuana and San Diego. Each has a definite plan in mind for their future, but a tragedy forces them to embark on a journey to the other side of their respective borders, a journey that leads them to reflect on their origins and identity. Los vecinos FictionDir. Diana CardozoProduction Company: Agalma, Foprocine IMCINELuis sees the murder of his neighbors and the indifference of others. The looting of the victims' house. The meanness of his father, who appropriates an armchair. Father and son will try to sell it in another town. They'll have to cross the mountain on a bicycle with a pulling cart with an armchair on it. In a few days, Luis witnesses the mystery of death, the fragility of adults, the wonder of time, and the learning of masculinity. Cartas a distancia Documentary*Dir. Juan Carlos RulfoProduction Company: La Media Luna, Península FilmsAt Hospital 27 in Tlatelolco, people infected with COVID-19 are isolated and lose all contact with the outside world. For this reason, a group of nurses developed a system to exchange letters and videos that will bring the patients closer to their families where they reflect on their lives, opportunities, the pandemic, and love, opening through words a door to hope.*Not competing for the José María Riba Award.
Los amantes se despiden con la mirada FictionDir. Rigoberto PerezcanoProduction Company: Tiburón FilmesLeobardo, a father who lives in the valley of Oaxaca with his eleven-year-old son Olivo, faces his imminent death with fear. For this reason, Leobardo undertakes an initiatory journey for his son. Years later, Leobardo's soul will accompany Olivo in his adult life, as a silent witness of his experiences and passions on earth.
Cruz DocumentaryDir. Teresa Camou GuerreroProduction: Teresa Camou Guerrero, Jenny MügelCruz, an indigenous Rarámuri from the Sierra Tarahumara in Mexico, and his family were dispossessed of their land by drug traffickers when they refused to switch from corn to poppy. Since then they have lived displaced and under death threats, desperately seeking justice so they can return to their place of origin.
Dante y Soledad Fiction, First FilmDir. Alexandra de la MoraProduction Company: Películas Bomba, Woo FilmsInés stops working to devote herself entirely to her first daughter because, unlike her own mother, she wants to be present. Lack of sleep and Layla's pressing demands create confusion. Her husband tries to accompany her, but the only space where Agnes finds refuge is in her aquarium. The tension between the lost life and the uncertain future forces her to decide between the shipwreck and the path of her new identity.
Mamá Documentary, First FilmDir. Juan Antonio Méndez RodríguezProduction Company: Terra Nostra FilmsAs a Tsotsil Mexican I grew up between the sacredness of the Virgin of Guadalupe and Mother Earth. As the son of a single mother, I grew up between mockery for not having a father and blaming my mother for it. I grew up between adoration and contempt for my mother. Mama is a dialogue between mother and son who explore their contradictions; who know and recognize each other, and who reflect on naturalized violence and its reproduction. To be and become a family.
Travesías FictionDir. Sergio Flores ThorijaProduction Company: Leap of Faith CineAlejandra and Victor live under contrasting circumstances in a city that is artificially divided in two by a wall: Tijuana and San Diego. Each has a definite plan in mind for their future, but a tragedy forces them to embark on a journey to the other side of their respective borders, a journey that leads them to reflect on their origins and identity.
Los vecinos FictionDir. Diana CardozoProduction Company: Agalma, Foprocine IMCINELuis sees the murder of his neighbors and the indifference of others. The looting of the victims' house. The meanness of his father, who appropriates an armchair. Father and son will try to sell it in another town. They'll have to cross the mountain on a bicycle with a pulling cart with an armchair on it. In a few days, Luis witnesses the mystery of death, the fragility of adults, the wonder of time, and the learning of masculinity.
Cartas a distancia Documentary*Dir. Juan Carlos RulfoProduction Company: La Media Luna, Península FilmsAt Hospital 27 in Tlatelolco, people infected with COVID-19 are isolated and lose all contact with the outside world. For this reason, a group of nurses developed a system to exchange letters and videos that will bring the patients closer to their families where they reflect on their lives, opportunities, the pandemic, and love, opening through words a door to hope.*Not competing for the José María Riba Award.
PANEL OF EXPERTS Bertha Navarro A promoter of Ibero-American cinema, she began her film career in documentary filmmaking at the end of the sixties and, soon after, directed her work as a producer to fiction. In 1972, she began filming her first feature film: Reed, México Insurgente, directed by Paul Leduc and one of the first independent films in Mexico. The movie was awarded the Georges Sadoul award in France, Directors’ Fortnight at Cannes in 1973. Since then she has produced important films in the history of Ibero-American cinema, including Cronos, The Devil’s Backbone and Pan’s Labyrinth by Guillermo del Toro, Cabeza de Vaca by Nicolás Echevarría, Un Embrujo by Carlos Carrera, La Fiebre del Loco by Andrés Wood and Crónicas by Sebastián Cordero. She recognised and supported talent in numerous debut films. Her films have traveled the world of international festivals and many of them have earned important awards.Her conviction that the primary role of cinema is to tell a good story, she has made the Laboratory of Cinematographic Scripts a possibility. This collaboration between the Sundance Institute, the Guadalajara International Film Festival and the Morelia International Film Festival has helped many talented Mexican and Latin American directors and scriptwriters with their work. She also created the Music for Film Lab and in 2012, she started the Actor-Director Lab, where directors have the opportunity to explore their work with actors in-depth.As a tribute and recognition to her extensive and notable career in Ibero-American cinema, the Guadalajara International Film Festival awarded her the Mayahuel de Plata in 2008. Among other accolades, she received the Ariel de Oro from the Academy of Arts and Cinematographic Sciences in 2015, as well as El Coral from the Havana Festival in 2018.Bertha Navarro has served as a jury in numerous film festivals, including the Locarno Film Festival, Lima Film Festival and the Guadalajara International Film Festival, among others. Jorge Fons Mexican filmmaker with a celebrated career in which the following films stand out: Nosotros (Ariel as Best Director), Los Cachorros (Best Foreign Film by the New York Association of Cinematographic Journalists), Caridad (Diosa de Plata “Francisco Pina”), Los Albañiles (Silver Bear Best Director at the Berlin Film Festival), Así es Vietnam (Gold Lotus in Hanoi, Coral de Plata from the Havana Festival, Ariel de Plata), Rojo Amanecer (Special Jury Prize at the San Sebastián Festival, nine Ariel Awards including Best Film and Best Director and three Silver Goddesses) and El Callejón de los Milagros, which, among many other distinctions, won the Goya for Best Spanish-Speaking Foreign Film, the Silver Spike for Best Director at the Valladolid Festival in Spain, a Special Mention at Berlinale, the Audience Award of the Chicago Film Festival and eleven Ariel Awards, including Best Film and Best Director.Jorge has been a Fellow of the National System of Art Creators, CONACULTA, and the John Simon Guggenheim Memorial Foundation. He has received numerous distinctions, including the Medal of Merit awarded by the Mexican Society of Directors, the Ariel de Oro for his professional trajectory, the National Prize for Sciences and Arts and the Ingmar Bergman Chair Medal awarded by UNAM.In addition to his artistic work being the focus of tributes and retrospectives at various international film festivals (Guadalajara, Guanajuato, Havana, Bogotá, Trieste, Marseille, Toulouse, Huelva, Valladolid), Jorge Fons has been a judge in multiple competitions and has taught classes and workshops in filmmaking at various film schools both in Mexico and abroad. Vicente Canales Vicente Canales started his career in 1998 at the Spanish distribution, production and sales company, Filmax. He gained experience in development and marketing, finally discovering his vocation in the international sales department, where he was in charge of selling the Rec franchise, The Machinist by Brad Anderson and many more.Over the following years, he acquired a deep knowledge of the industry and, in 2010, Canales left Filmax to start his own company, Film Factory Entertainment, soon achieving a leading position in the international sale of Spain’s most important productions.Film Factory Entertainment is an independent international sales agency based in Barcelona, Spain. The company works with a selective slate, choosing Spanish films with the highest international potential and also collaborating with Europe and Latin America’s most prominent production companies. Eugenio Caballero Academy Award winning production designer of Guillermo de Toro’s Pan’s Labyrinth. Eugenio’s work on the film also earned him an Ariel Award, as well as the Art Directors’ Guild Award (the most prestigious award in his field), Los Angeles Film Critics Association Award, the Gold Derby Award” the Online Film Critics Association, Goya, Satellite, Las Vegas Film Critics Society Award and BAFTA Award nominations.Born in Mexico City and after studying History of Art and History of Cinema in Florence, Italy, Caballero began his career as a production designer in Mexico, with award-winning work on music videos (MTV award) and short films. Soon he started to work in feature films as an assistant, and a set decorator.Eugenio Caballero’s credits include near 30 films, 20 of them as a designer. He has worked with directors Jim Jarmusch (The Limit of Control), Baz Lurthman (Romeo and Juliet), Alfonso Cuarón‘s Roma, Sebastián Cordero (Crónicas, Rabia and Europa Report), Floria Sigismondi (The Runaways), Claudia Llosa (Aloft), Fernando Eimbcke (Club Sandwich), Carlos Cuarón (Rudo y Cursi), Russel Mulcahy (Resident Evil Extinction), among others.His first collaboration with J.A.Bayona on The Impossible, starring Naomi Watts, Ewan MacGregor and Tom Holland, earned him a Goya nomination and an Art Directors Guild nomination in 2013.In 2014 Eugenio designed the Paralympic Opening Ceremony of the Sochi Winter Olympics, for director Daniele Finzi, with whom he had also collaborated with the Cirque du Soleil in the show Luzia in 2016.In 2015 and 2016 he worked on the film A Monster Calls directed by J.A. Bayona, based on the multi awarded book by Patrick Ness which earned him a Goya on his third nomination to this award. He received the Gaudi Award, the Fenix Award and the Platino Award for the same film.In 2017-2018 he designed the film Roma working alongside with the director Alfonso Cuarón, for this work he has ea rned multiple international awards and nominations, including the Critics Choice Awards, the Art Directors’ Guild, the BAFTAs and the Academy Award. Eugenio Caballero has been nominated seven times for the Ariel award -Mexico’s main film award – from which he has won two.Eugenio has served as a Jury member on numerous international festivals and he is a member of the AMPAS (Academy of Motion Picture Arts and Sciences), the Mexican and Spanish film academies.
Bertha Navarro A promoter of Ibero-American cinema, she began her film career in documentary filmmaking at the end of the sixties and, soon after, directed her work as a producer to fiction. In 1972, she began filming her first feature film: Reed, México Insurgente, directed by Paul Leduc and one of the first independent films in Mexico. The movie was awarded the Georges Sadoul award in France, Directors’ Fortnight at Cannes in 1973. Since then she has produced important films in the history of Ibero-American cinema, including Cronos, The Devil’s Backbone and Pan’s Labyrinth by Guillermo del Toro, Cabeza de Vaca by Nicolás Echevarría, Un Embrujo by Carlos Carrera, La Fiebre del Loco by Andrés Wood and Crónicas by Sebastián Cordero. She recognised and supported talent in numerous debut films. Her films have traveled the world of international festivals and many of them have earned important awards.Her conviction that the primary role of cinema is to tell a good story, she has made the Laboratory of Cinematographic Scripts a possibility. This collaboration between the Sundance Institute, the Guadalajara International Film Festival and the Morelia International Film Festival has helped many talented Mexican and Latin American directors and scriptwriters with their work. She also created the Music for Film Lab and in 2012, she started the Actor-Director Lab, where directors have the opportunity to explore their work with actors in-depth.As a tribute and recognition to her extensive and notable career in Ibero-American cinema, the Guadalajara International Film Festival awarded her the Mayahuel de Plata in 2008. Among other accolades, she received the Ariel de Oro from the Academy of Arts and Cinematographic Sciences in 2015, as well as El Coral from the Havana Festival in 2018.Bertha Navarro has served as a jury in numerous film festivals, including the Locarno Film Festival, Lima Film Festival and the Guadalajara International Film Festival, among others.
Jorge Fons Mexican filmmaker with a celebrated career in which the following films stand out: Nosotros (Ariel as Best Director), Los Cachorros (Best Foreign Film by the New York Association of Cinematographic Journalists), Caridad (Diosa de Plata “Francisco Pina”), Los Albañiles (Silver Bear Best Director at the Berlin Film Festival), Así es Vietnam (Gold Lotus in Hanoi, Coral de Plata from the Havana Festival, Ariel de Plata), Rojo Amanecer (Special Jury Prize at the San Sebastián Festival, nine Ariel Awards including Best Film and Best Director and three Silver Goddesses) and El Callejón de los Milagros, which, among many other distinctions, won the Goya for Best Spanish-Speaking Foreign Film, the Silver Spike for Best Director at the Valladolid Festival in Spain, a Special Mention at Berlinale, the Audience Award of the Chicago Film Festival and eleven Ariel Awards, including Best Film and Best Director.Jorge has been a Fellow of the National System of Art Creators, CONACULTA, and the John Simon Guggenheim Memorial Foundation. He has received numerous distinctions, including the Medal of Merit awarded by the Mexican Society of Directors, the Ariel de Oro for his professional trajectory, the National Prize for Sciences and Arts and the Ingmar Bergman Chair Medal awarded by UNAM.In addition to his artistic work being the focus of tributes and retrospectives at various international film festivals (Guadalajara, Guanajuato, Havana, Bogotá, Trieste, Marseille, Toulouse, Huelva, Valladolid), Jorge Fons has been a judge in multiple competitions and has taught classes and workshops in filmmaking at various film schools both in Mexico and abroad.
Vicente Canales Vicente Canales started his career in 1998 at the Spanish distribution, production and sales company, Filmax. He gained experience in development and marketing, finally discovering his vocation in the international sales department, where he was in charge of selling the Rec franchise, The Machinist by Brad Anderson and many more.Over the following years, he acquired a deep knowledge of the industry and, in 2010, Canales left Filmax to start his own company, Film Factory Entertainment, soon achieving a leading position in the international sale of Spain’s most important productions.Film Factory Entertainment is an independent international sales agency based in Barcelona, Spain. The company works with a selective slate, choosing Spanish films with the highest international potential and also collaborating with Europe and Latin America’s most prominent production companies.
Eugenio Caballero Academy Award winning production designer of Guillermo de Toro’s Pan’s Labyrinth. Eugenio’s work on the film also earned him an Ariel Award, as well as the Art Directors’ Guild Award (the most prestigious award in his field), Los Angeles Film Critics Association Award, the Gold Derby Award” the Online Film Critics Association, Goya, Satellite, Las Vegas Film Critics Society Award and BAFTA Award nominations.Born in Mexico City and after studying History of Art and History of Cinema in Florence, Italy, Caballero began his career as a production designer in Mexico, with award-winning work on music videos (MTV award) and short films. Soon he started to work in feature films as an assistant, and a set decorator.Eugenio Caballero’s credits include near 30 films, 20 of them as a designer. He has worked with directors Jim Jarmusch (The Limit of Control), Baz Lurthman (Romeo and Juliet), Alfonso Cuarón‘s Roma, Sebastián Cordero (Crónicas, Rabia and Europa Report), Floria Sigismondi (The Runaways), Claudia Llosa (Aloft), Fernando Eimbcke (Club Sandwich), Carlos Cuarón (Rudo y Cursi), Russel Mulcahy (Resident Evil Extinction), among others.His first collaboration with J.A.Bayona on The Impossible, starring Naomi Watts, Ewan MacGregor and Tom Holland, earned him a Goya nomination and an Art Directors Guild nomination in 2013.In 2014 Eugenio designed the Paralympic Opening Ceremony of the Sochi Winter Olympics, for director Daniele Finzi, with whom he had also collaborated with the Cirque du Soleil in the show Luzia in 2016.In 2015 and 2016 he worked on the film A Monster Calls directed by J.A. Bayona, based on the multi awarded book by Patrick Ness which earned him a Goya on his third nomination to this award. He received the Gaudi Award, the Fenix Award and the Platino Award for the same film.In 2017-2018 he designed the film Roma working alongside with the director Alfonso Cuarón, for this work he has ea rned multiple international awards and nominations, including the Critics Choice Awards, the Art Directors’ Guild, the BAFTAs and the Academy Award. Eugenio Caballero has been nominated seven times for the Ariel award -Mexico’s main film award – from which he has won two.Eugenio has served as a Jury member on numerous international festivals and he is a member of the AMPAS (Academy of Motion Picture Arts and Sciences), the Mexican and Spanish film academies.
