4th Project Development Workshop for Filmmakers of Indigenous and African Descent in Mexico The Morelia International Film Festival (FICM), through Morelia Pro, presents the ten projects selected to participate in the 4th Project Development Workshop for Filmmakers of Indigenous and African Descent in Mexico.With support from Netflix and the Marigold Fund, the workshop will take place between October 14 and 18, 2026, in the city of Morelia, as part of the Indigenous Peoples’ Forum at the 24th edition of FICM.Through this workshop, FICM aims to contribute to the professional development of ten filmmakers from different ethnic groups and regions of Mexico, so that their projects in development can receive guidance from experts in the film industry. This space for training and reflection contributes to the development of film projects by filmmakers from indigenous communities and communities of African descent in the country.Over four days of intensive work, the directors of the selected projects will combine themed group workshops with personalized consultations on their projects, lectures by special guests, opportunities for collective reflection, and screenings. PROYECTOS Nyehé: palabras que recogen esperanza, by Doreli Rufina Carrillo Doreli Rufina CarrilloNgiwa-popoloca, PueblaCommunication specialist. Her work explores language preservation, as well as the care for and connection to the territory of her indigenous community. She has participated in community radio projects. She is currently working on her debut documentary, Nyehé: palabras que recogen esperanza, supported by PECDA Puebla (2025). She lives in Los Reyes Metzontla with her goats and a forest of tetechas.Nyehé: palabras que recogen esperanzaDocumentary, featureThe Ngiwa-Popoloca language resists oblivion through stories that engage with the past. Memory echoes in clay pots and in the sounds of the wind and the birds that roam the hills of Los Reyes Metzontla, Puebla. Family anecdotes accompany Doreli and her mother as they care for the land—everyday ways of learning and preserving their language. Al besarte, Concepción, by Rogelio Chicatti Villalobos Rogelio Chicatti VillalobosZapoteca, Oaxaca.Audiovisual filmmaker from Tehuantepec, Oaxaca. He holds a bachelor’s degree in Film and Digital Television and has supplemented his education with self-taught studies in animation and motion graphics. His work explores identity and community resistance. Notable works in his filmography include Yoo Herencia Binnigulaza and the award-winning short films No te arrugues cuero viejo and Xhárdonix Xha.Al besarte, ConcepciónFiction, short, live action and animation.Concepción is a woman from Tehuán who goes about everyday life with a sense of normalcy. But during innocent conversations, her granddaughters make her question that silent reality, allowing her to finally break free from the burden she has carried for years. Tsajtsikan in ichtakayojmej (Secretos para gritar), by Romeo De Paz Romeo De PazNahua, Estado de México.A Mexican filmmaker specializing in fantasy horror and stop-motion animation, he is an animator and visual artist. He has directed feature films, short films, and audiovisual projects, developing an authorial vision deeply influenced by Nahuatl cultural identity, surrealism, memory, and trauma. His work explores nightmares, childhood, and that which remains hidden.Tsajtsikan in ichtakayojmej (Secretos para gritar)Fiction, short, animationTwo siblings try to escape a disturbing secret game while a monstrous presence stalks them from the darkness. To survive, they must break the silence and scream out what no one wants to hear. Dos espíritus, by Dan Escárraga Dan EscárragaZapoteca, OaxacaFilmmaker and cinematographer from Oaxaca. They studied Communication, Psychology, and Cinematography at the Centro de Capacitación Cinematográfica and are currently pursuing a master’s degree in Documentary Film at ENAC. A recipient of grants from PECDA Oaxaca and Jóvenes Creadores (FONCA), they directed A la niña que fui, a documentary about their nonconformist childhood. They are currently developing the documentary Como la Tierra and participating in “Les desertores,” a performance lab with trans youth.Dos espíritusDocumentary, featureDos espíritus is a docufiction that tells the story of five characters who do not identify with the male-female binary. They live in different regions of the state of Oaxaca, where megaprojects are endangering their lives and their land. They try to explain this threat through the lens of the mystical, based on their Zapotec worldview. Ch'ulel (espíritu), by Amelia Hernández Amelia HernándezTsotsil, Chiapas.She is originally from Zinacantán, Chiapas, and speaks the Tsotsil language. She works as a freelance photographer, editor, and screenwriter, and has been passionate about audiovisual media since she was very young. She holds a degree in Intercultural Communication from the Universidad Intercultural de Chiapas. She received a scholarship from the Film Training Center in 2012 and from Ambulante Más Allá in 2013.Ch'ulel (espíritu)Fiction, featureAlma, 60, is an absent-minded and fearful woman. She lives alone in a huge house while undergoing a deep period of mourning. She feels lonely and has neglected her home, especially her enormous garden. After an unexpected encounter with her Ch’ulel, Alma reconnects with the harmony of Mother Nature, who provides her with abundance, represents life itself, and symbolizes her bond with this essential spirit. Máteru Sikuiri, by Eduardo López González Eduardo López GonzálezPurépecha, MichoacánPhotographer, filmmaker, and cultural manager. His work documents the living memory of the Purépecha people through their clothing, music, dances, and traditional crafts. He has collaborated on film projects, music videos, and community documentaries. He was a finalist in the 2017 Humanity Photo Awards and has contributed to Artes de México.Máteru Sikuiri (Otra piel)Documentary, featureMáteru Sïkuiri traces the life of the rebozo in Ahuiran, Michoacán. Amid looms, homes, and celebrations, she accompanies the Purépecha women from childhood to old age, through motherhood, marriage, and grief. Through daily interactions with the artisans and their families, the film reveals how this garment becomes a source of memory, warmth, identity, and a bond between generations. Los niños del Mezquite, de Rodrigo Martínez Rodrigo MartínezOtomí, QuerétaroAn animator, director, and screenwriter from Querétaro of Otomí indigenous descent. He holds a bachelor’s degree in Animation (2014) and a master’s degree in Screenwriting (2016). His credits include the short films Atrapaluz and Emme en sus días mutantes, as well as Home Is Somewhere Else, winner of the Ariel Award for Best Animated Film. He is currently developing his first animated feature film.Los niños del MezquiteFiction, feature, animationIn the semi-desert region of Querétaro, where humans and masked magical creatures live side by side, Koi, an Otomí boy determined to master Nzaki magic, cuts down the sacred tree that protects his village from droughts after being tricked by a demon. With the help of Za, a wooden boy, Koi journeys into the unknown to bring back a new sacred tree and prevent the destruction of his village—only to discover, in the end, that the community itself is the true magical tree. Morir con las luces encendidas, by Brian Reséndiz Rodríguez Brian Reséndiz RodríguezAfro, Oaxaca.An Afro-Mexican filmmaker and photographer from the Costa Chica region of Oaxaca. His work explores memory, emotions, and the relationship between the body, landscape, and identity. A recipient of grants from PECDA and IMCINE, he has developed documentary and photographic projects presented at educational and creative venues such as DocsMX, Ambulante Más Allá, Casa Wabi, and the Centro de la Imagen.Morir con las luces encendidasFiction, shortCheluis and his friends spend the afternoon filming a music video in Corralero, Oaxaca. As night falls, they set off for home, confident in the future that lies ahead. On the highway, a pickup truck emerges from the darkness and starts following them. Inspired by real events, Morir con las luces encendidas reconstructs, in near real time, the final hours of three young people of African descent from the Costa Chica. Kolel, by Ana Ts'uyeb Ana Ts'uyebTsotsil, Chiapas.A Tsotsil filmmaker and communications specialist. Her work honors the memory of Indigenous peoples. A graduate of the Intercultural University of Chiapas, she trained at ECAMC-IMCINE. With her debut documentary, Li Cham (Morí), she won the award for Best Mexican Documentary Feature at FICM 2024, the Rigoberta Menchú Grand Prix in Montreal, and toured festivals such as Hot Docs and Sheffield DocFest.Kolel (Sanar)Documentary, featureTo heal her fragmented soul, the director returns to her roots. Through an intimate dialogue with her father, Pablo—a man who inherited and perpetuated patterns of violence—she explores generational trauma on a personal journey that intertwines psychological therapy with the ancestral tradition of Tsotsil prayer. La muda, de Graciela Villanueva Graciela VillanuevaZapoteca-mixteca, OaxacaShe graduated with a degree in Communication Sciences from the Universidad del Mar in Oaxaca. She has worked primarily in casting and as an assistant director. She was part of IMCINE’s Polos Audiovisuales program and has received a grant from FONCA. She specializes in working with non-professional actors and has participated in auteur films such as Roma, Noche de Fuego, Estela de Sombra, and El Eco. She currently combines casting direction with her work as an acting coach.La mudaFiction, shortPetra, 35, is getting over a breakup—until something inside her snaps and she loses control. She takes refuge in her home as dark spots appear on her body and harden into scabs. She finds a beetle's pupa on her bed and, without fear, sleeps beside it. The mutation progresses, and amid contortions, she transforms into an animal. Her voice, now reduced to creaking sounds, leads us into a cave. Petra no longer needs a body to exist. ASESORES Sofía Arroyo An activist and philanthropy professional dedicated to social justice, systemic change, indigenous rights, gender and climate justice, and new narratives. A graduate of the Universidad Iberoamericana, she holds a bachelor’s degree in communication with a specialization in film. She has worked in the film and advertising industries as a first assistant director and as a director. She has held various roles in philanthropy, including executive director of the EDGE Funders Alliance. She is currently co-director of operations at the Hopper-Dean Foundation. A recipient of a fellowship from the Open Society Foundation’s Fund for New Executives, Sofía served on the board of directors of International Funders for Indigenous Peoples and is currently co-chair of the board of directors of JASS (Just Associates) and a member of the board of directors of the Panta Rhea Foundation. She has served as a consultant on strategic partnerships and film. Myriam Bravo Actress and producer. She made her debut in 2007 with Espiral and has appeared in films such as La casa más grande del mundo, Huachicolero, Vergüenza, Mujeres del alba, Nudo mixteco, and Valentina o la serenidad, for which she won the Colón de Plata at the 2023 Huelva Film Festival and was nominated for an Ariel Award in 2024. In short films, she stands out in Patrona, Un brillo de amor incomprensible, El tigre y la flor, La carta, La tiricia o cómo curar la tristeza, and El cortejo. Her performance in La tierra y la carne received the Best Performance award at the Buenos Aires International Film Festival. Since 2011, she has worked as a casting director and acting coach, in addition to leading workshops that foster training and creativity among local performers. She is a co-founder of Cinema Sorora, a film festival featuring films directed by women. Amalia Córdova Curator and researcher specializing in Indigenous cinema. She co-directs the Mother Tongue Film Festival. She served as supervising curator at the Smithsonian Institution’s Center for Folk Traditions and Cultural Heritage and worked at the Smithsonian Institution’s National Museum of the American Indian’s Center for Film and Video as a Latin American specialist. She taught workshops on Indigenous cinema at New York University’s Gallatin School of Individualized Study. She earned a Ph.D. in Film Studies and a master’s degree in Performance Studies, both from New York University. She holds a bachelor’s degree in Fine Arts and Aesthetics from the Pontifical Catholic University of Chile in Santiago. Her book Frames of Resistance: the Cinemas of Abya Yala (2025) was published by Oxford University Press. She is from Santiago, Chile/Wallmapu. Martha Fritz She holds a Bachelor’s degree in Communication Sciences from the Universidad Iberoamericana and specializes in the administration of music catalogs and related royalties, as well as the management of music and audiovisual material licenses. Throughout her career, she has worked in various areas of the entertainment industry; she is currently an associate at All Entertainment Abogados, S.C., a firm that provides legal and administrative consulting services to creators and holders of copyright and related rights. Primarily, she works closely with audiovisual directors and producers to optimize their resources and secure quality music and content for their projects. She currently serves as vice president of the Asociación de Supervisión Musical de Habla Hispana, A.C. (ASM). She has participated in numerous continuing education seminars on the subject and has had the privilege of being invited to workshops and conferences to share her expertise. Alejandra Ley Actress, singer, comedian, artivist, and Fer's mother. She has a 33-year career in the arts and debuted in telenovelas such as Carrusel de las Américas, Marimar, and Los Sánchez. She has appeared in series such as Blue Demon and Contra las cuerdas, and currently plays Abi, la Neni in La Oficina (Mexico's very own take on The Office). Her filmography includes Cuatro Lunas, Locas por el Cambio, and La Usurpadora: The Musical; and her theater credits include Madre Coraje and La Tía Mariela. In 2025, she celebrated her career with Perfidia: boleros en deconstrucción at the International Cabaret Festival. As a stand-up comedian, she was the first woman to record a special in Spanish for Comedy Central, and she has performed in Mexico and Colombia. She is a vocalist for Las Pinups, the creator of the feminist festival La Verbena Sorora, and in 2023 she received an award from the Senate for her work in advocating for the LGBT+ community. Laura Santullo Writer and screenwriter, author or co-author of feature films such as La Zona, Desierto adentro, La demora, Un monstruo de mil cabezas, El otro Tom—which she also co-directed with Rodrigo Plá—and La caja. Her latest film, Los nuevos, recently premiered at the Locarno Film Festival. She has received three Ariel Awards, the Best Screenplay Award at the Athens International Film Festival, Best Screenplay at the Lima Film Festival, and Best Director Awards at both the Warsaw Film Festival and the Morelia Film Festival. She has also published five novels and a collection of short stories. Since 2012, he has taught classes and workshops on screenwriting and film adaptation at institutions such as the ECU, the CCC, and the EICTV, as well as in various cities across Mexico. She has led numerous workshops and seminars on film adaptation and screenwriting. Xun Sero Cinematographer, editor, and film director of Tsotsil Maya descent. He received his training through workshops and specialized certificate programs in documentary filmmaking, including Ambulante Más Allá, El CCC con Patas, and the San Cristóbal de Las Casas School of Documentary Film, where he currently teaches the cinematography course. As a director of photography, he has worked on documentaries including: Negra y Nyanga, by Medhin Tewolde; Ágatha y el amor and Kuxlejal, by Elke Franke; El Nail and Don de ser, by Néstor A. Jiménez; Ch’ul be – Senda sagrada, by Humberto Gómez; Un lugar más grande, by Nicolas Défossé; and Marino y los Auténticos, by Cristóbal Jasso. In 2022, he made his directorial debut with the feature-length documentary Mamá. He is currently developing De aspecto indígena and is a grantee of the National System for Art Creators, where he is working on the documentary series Tsotsil. Cristina Velasco A producer originally from the Tijuana–San Diego region. She began her career in 2001 with Bulbo TV, an independent media project that evolved into a radio station, a publishing house, a record label, and an online streaming service. She graduated with honors from the University of California, San Diego, and has participated as an artist in international events. She has produced both fiction and documentary films, including El cuarto desnudo, Carmín tropical, Eisenstein en Guanajuato, Nuevo Orden, Sundown, El Gran Fellove, and El Guardián, as well as award-winning documentaries at festivals such as Morelia, Berlin, Venice, San Sebastián, and Warsaw. Between 2015 and 2018, she headed key divisions at IMCINE, including FOPROCINE, the National Filming Commission, and EFICINE. She currently runs Paloma Negra Films, a boutique production company focused on international auteur cinema. Jorge Villalobos de la Torre Screenwriter, producer, and director of animated feature and short films—both documentary and fiction—for film and television, which have been screened at 60 festivals around the world. On the public television channel Canal Once, he directed the shows El Diván de Valentina and Bizbirije. He has published three books of short stories—two as a writer and one as an illustrator. He is a co-founder of Brinca Taller, an animation studio where he produced the film Home is Somewhere Else, Mexico’s first animated feature-length documentary, which won fifteen national and international awards, including the 2023 Ariel Award for Best Animated Feature Film. He is currently producing the documentary Soñar con Momo and developing El gigante y la bailarina, his studio’s upcoming feature films. He is an active member of the National System of Art Creators. CONTACTIf you have any questions or would like additional information:lab.desarrollo.indigena@moreliafilmfest.com* Any matter not covered in this call for entries will be decided by the organizing committee.
PROYECTOS Nyehé: palabras que recogen esperanza, by Doreli Rufina Carrillo Doreli Rufina CarrilloNgiwa-popoloca, PueblaCommunication specialist. Her work explores language preservation, as well as the care for and connection to the territory of her indigenous community. She has participated in community radio projects. She is currently working on her debut documentary, Nyehé: palabras que recogen esperanza, supported by PECDA Puebla (2025). She lives in Los Reyes Metzontla with her goats and a forest of tetechas.Nyehé: palabras que recogen esperanzaDocumentary, featureThe Ngiwa-Popoloca language resists oblivion through stories that engage with the past. Memory echoes in clay pots and in the sounds of the wind and the birds that roam the hills of Los Reyes Metzontla, Puebla. Family anecdotes accompany Doreli and her mother as they care for the land—everyday ways of learning and preserving their language. Al besarte, Concepción, by Rogelio Chicatti Villalobos Rogelio Chicatti VillalobosZapoteca, Oaxaca.Audiovisual filmmaker from Tehuantepec, Oaxaca. He holds a bachelor’s degree in Film and Digital Television and has supplemented his education with self-taught studies in animation and motion graphics. His work explores identity and community resistance. Notable works in his filmography include Yoo Herencia Binnigulaza and the award-winning short films No te arrugues cuero viejo and Xhárdonix Xha.Al besarte, ConcepciónFiction, short, live action and animation.Concepción is a woman from Tehuán who goes about everyday life with a sense of normalcy. But during innocent conversations, her granddaughters make her question that silent reality, allowing her to finally break free from the burden she has carried for years. Tsajtsikan in ichtakayojmej (Secretos para gritar), by Romeo De Paz Romeo De PazNahua, Estado de México.A Mexican filmmaker specializing in fantasy horror and stop-motion animation, he is an animator and visual artist. He has directed feature films, short films, and audiovisual projects, developing an authorial vision deeply influenced by Nahuatl cultural identity, surrealism, memory, and trauma. His work explores nightmares, childhood, and that which remains hidden.Tsajtsikan in ichtakayojmej (Secretos para gritar)Fiction, short, animationTwo siblings try to escape a disturbing secret game while a monstrous presence stalks them from the darkness. To survive, they must break the silence and scream out what no one wants to hear. Dos espíritus, by Dan Escárraga Dan EscárragaZapoteca, OaxacaFilmmaker and cinematographer from Oaxaca. They studied Communication, Psychology, and Cinematography at the Centro de Capacitación Cinematográfica and are currently pursuing a master’s degree in Documentary Film at ENAC. A recipient of grants from PECDA Oaxaca and Jóvenes Creadores (FONCA), they directed A la niña que fui, a documentary about their nonconformist childhood. They are currently developing the documentary Como la Tierra and participating in “Les desertores,” a performance lab with trans youth.Dos espíritusDocumentary, featureDos espíritus is a docufiction that tells the story of five characters who do not identify with the male-female binary. They live in different regions of the state of Oaxaca, where megaprojects are endangering their lives and their land. They try to explain this threat through the lens of the mystical, based on their Zapotec worldview. Ch'ulel (espíritu), by Amelia Hernández Amelia HernándezTsotsil, Chiapas.She is originally from Zinacantán, Chiapas, and speaks the Tsotsil language. She works as a freelance photographer, editor, and screenwriter, and has been passionate about audiovisual media since she was very young. She holds a degree in Intercultural Communication from the Universidad Intercultural de Chiapas. She received a scholarship from the Film Training Center in 2012 and from Ambulante Más Allá in 2013.Ch'ulel (espíritu)Fiction, featureAlma, 60, is an absent-minded and fearful woman. She lives alone in a huge house while undergoing a deep period of mourning. She feels lonely and has neglected her home, especially her enormous garden. After an unexpected encounter with her Ch’ulel, Alma reconnects with the harmony of Mother Nature, who provides her with abundance, represents life itself, and symbolizes her bond with this essential spirit. Máteru Sikuiri, by Eduardo López González Eduardo López GonzálezPurépecha, MichoacánPhotographer, filmmaker, and cultural manager. His work documents the living memory of the Purépecha people through their clothing, music, dances, and traditional crafts. He has collaborated on film projects, music videos, and community documentaries. He was a finalist in the 2017 Humanity Photo Awards and has contributed to Artes de México.Máteru Sikuiri (Otra piel)Documentary, featureMáteru Sïkuiri traces the life of the rebozo in Ahuiran, Michoacán. Amid looms, homes, and celebrations, she accompanies the Purépecha women from childhood to old age, through motherhood, marriage, and grief. Through daily interactions with the artisans and their families, the film reveals how this garment becomes a source of memory, warmth, identity, and a bond between generations. Los niños del Mezquite, de Rodrigo Martínez Rodrigo MartínezOtomí, QuerétaroAn animator, director, and screenwriter from Querétaro of Otomí indigenous descent. He holds a bachelor’s degree in Animation (2014) and a master’s degree in Screenwriting (2016). His credits include the short films Atrapaluz and Emme en sus días mutantes, as well as Home Is Somewhere Else, winner of the Ariel Award for Best Animated Film. He is currently developing his first animated feature film.Los niños del MezquiteFiction, feature, animationIn the semi-desert region of Querétaro, where humans and masked magical creatures live side by side, Koi, an Otomí boy determined to master Nzaki magic, cuts down the sacred tree that protects his village from droughts after being tricked by a demon. With the help of Za, a wooden boy, Koi journeys into the unknown to bring back a new sacred tree and prevent the destruction of his village—only to discover, in the end, that the community itself is the true magical tree. Morir con las luces encendidas, by Brian Reséndiz Rodríguez Brian Reséndiz RodríguezAfro, Oaxaca.An Afro-Mexican filmmaker and photographer from the Costa Chica region of Oaxaca. His work explores memory, emotions, and the relationship between the body, landscape, and identity. A recipient of grants from PECDA and IMCINE, he has developed documentary and photographic projects presented at educational and creative venues such as DocsMX, Ambulante Más Allá, Casa Wabi, and the Centro de la Imagen.Morir con las luces encendidasFiction, shortCheluis and his friends spend the afternoon filming a music video in Corralero, Oaxaca. As night falls, they set off for home, confident in the future that lies ahead. On the highway, a pickup truck emerges from the darkness and starts following them. Inspired by real events, Morir con las luces encendidas reconstructs, in near real time, the final hours of three young people of African descent from the Costa Chica. Kolel, by Ana Ts'uyeb Ana Ts'uyebTsotsil, Chiapas.A Tsotsil filmmaker and communications specialist. Her work honors the memory of Indigenous peoples. A graduate of the Intercultural University of Chiapas, she trained at ECAMC-IMCINE. With her debut documentary, Li Cham (Morí), she won the award for Best Mexican Documentary Feature at FICM 2024, the Rigoberta Menchú Grand Prix in Montreal, and toured festivals such as Hot Docs and Sheffield DocFest.Kolel (Sanar)Documentary, featureTo heal her fragmented soul, the director returns to her roots. Through an intimate dialogue with her father, Pablo—a man who inherited and perpetuated patterns of violence—she explores generational trauma on a personal journey that intertwines psychological therapy with the ancestral tradition of Tsotsil prayer. La muda, de Graciela Villanueva Graciela VillanuevaZapoteca-mixteca, OaxacaShe graduated with a degree in Communication Sciences from the Universidad del Mar in Oaxaca. She has worked primarily in casting and as an assistant director. She was part of IMCINE’s Polos Audiovisuales program and has received a grant from FONCA. She specializes in working with non-professional actors and has participated in auteur films such as Roma, Noche de Fuego, Estela de Sombra, and El Eco. She currently combines casting direction with her work as an acting coach.La mudaFiction, shortPetra, 35, is getting over a breakup—until something inside her snaps and she loses control. She takes refuge in her home as dark spots appear on her body and harden into scabs. She finds a beetle's pupa on her bed and, without fear, sleeps beside it. The mutation progresses, and amid contortions, she transforms into an animal. Her voice, now reduced to creaking sounds, leads us into a cave. Petra no longer needs a body to exist.
Nyehé: palabras que recogen esperanza, by Doreli Rufina Carrillo Doreli Rufina CarrilloNgiwa-popoloca, PueblaCommunication specialist. Her work explores language preservation, as well as the care for and connection to the territory of her indigenous community. She has participated in community radio projects. She is currently working on her debut documentary, Nyehé: palabras que recogen esperanza, supported by PECDA Puebla (2025). She lives in Los Reyes Metzontla with her goats and a forest of tetechas.Nyehé: palabras que recogen esperanzaDocumentary, featureThe Ngiwa-Popoloca language resists oblivion through stories that engage with the past. Memory echoes in clay pots and in the sounds of the wind and the birds that roam the hills of Los Reyes Metzontla, Puebla. Family anecdotes accompany Doreli and her mother as they care for the land—everyday ways of learning and preserving their language.
Al besarte, Concepción, by Rogelio Chicatti Villalobos Rogelio Chicatti VillalobosZapoteca, Oaxaca.Audiovisual filmmaker from Tehuantepec, Oaxaca. He holds a bachelor’s degree in Film and Digital Television and has supplemented his education with self-taught studies in animation and motion graphics. His work explores identity and community resistance. Notable works in his filmography include Yoo Herencia Binnigulaza and the award-winning short films No te arrugues cuero viejo and Xhárdonix Xha.Al besarte, ConcepciónFiction, short, live action and animation.Concepción is a woman from Tehuán who goes about everyday life with a sense of normalcy. But during innocent conversations, her granddaughters make her question that silent reality, allowing her to finally break free from the burden she has carried for years.
Tsajtsikan in ichtakayojmej (Secretos para gritar), by Romeo De Paz Romeo De PazNahua, Estado de México.A Mexican filmmaker specializing in fantasy horror and stop-motion animation, he is an animator and visual artist. He has directed feature films, short films, and audiovisual projects, developing an authorial vision deeply influenced by Nahuatl cultural identity, surrealism, memory, and trauma. His work explores nightmares, childhood, and that which remains hidden.Tsajtsikan in ichtakayojmej (Secretos para gritar)Fiction, short, animationTwo siblings try to escape a disturbing secret game while a monstrous presence stalks them from the darkness. To survive, they must break the silence and scream out what no one wants to hear.
Dos espíritus, by Dan Escárraga Dan EscárragaZapoteca, OaxacaFilmmaker and cinematographer from Oaxaca. They studied Communication, Psychology, and Cinematography at the Centro de Capacitación Cinematográfica and are currently pursuing a master’s degree in Documentary Film at ENAC. A recipient of grants from PECDA Oaxaca and Jóvenes Creadores (FONCA), they directed A la niña que fui, a documentary about their nonconformist childhood. They are currently developing the documentary Como la Tierra and participating in “Les desertores,” a performance lab with trans youth.Dos espíritusDocumentary, featureDos espíritus is a docufiction that tells the story of five characters who do not identify with the male-female binary. They live in different regions of the state of Oaxaca, where megaprojects are endangering their lives and their land. They try to explain this threat through the lens of the mystical, based on their Zapotec worldview.
Ch'ulel (espíritu), by Amelia Hernández Amelia HernándezTsotsil, Chiapas.She is originally from Zinacantán, Chiapas, and speaks the Tsotsil language. She works as a freelance photographer, editor, and screenwriter, and has been passionate about audiovisual media since she was very young. She holds a degree in Intercultural Communication from the Universidad Intercultural de Chiapas. She received a scholarship from the Film Training Center in 2012 and from Ambulante Más Allá in 2013.Ch'ulel (espíritu)Fiction, featureAlma, 60, is an absent-minded and fearful woman. She lives alone in a huge house while undergoing a deep period of mourning. She feels lonely and has neglected her home, especially her enormous garden. After an unexpected encounter with her Ch’ulel, Alma reconnects with the harmony of Mother Nature, who provides her with abundance, represents life itself, and symbolizes her bond with this essential spirit.
Máteru Sikuiri, by Eduardo López González Eduardo López GonzálezPurépecha, MichoacánPhotographer, filmmaker, and cultural manager. His work documents the living memory of the Purépecha people through their clothing, music, dances, and traditional crafts. He has collaborated on film projects, music videos, and community documentaries. He was a finalist in the 2017 Humanity Photo Awards and has contributed to Artes de México.Máteru Sikuiri (Otra piel)Documentary, featureMáteru Sïkuiri traces the life of the rebozo in Ahuiran, Michoacán. Amid looms, homes, and celebrations, she accompanies the Purépecha women from childhood to old age, through motherhood, marriage, and grief. Through daily interactions with the artisans and their families, the film reveals how this garment becomes a source of memory, warmth, identity, and a bond between generations.
Los niños del Mezquite, de Rodrigo Martínez Rodrigo MartínezOtomí, QuerétaroAn animator, director, and screenwriter from Querétaro of Otomí indigenous descent. He holds a bachelor’s degree in Animation (2014) and a master’s degree in Screenwriting (2016). His credits include the short films Atrapaluz and Emme en sus días mutantes, as well as Home Is Somewhere Else, winner of the Ariel Award for Best Animated Film. He is currently developing his first animated feature film.Los niños del MezquiteFiction, feature, animationIn the semi-desert region of Querétaro, where humans and masked magical creatures live side by side, Koi, an Otomí boy determined to master Nzaki magic, cuts down the sacred tree that protects his village from droughts after being tricked by a demon. With the help of Za, a wooden boy, Koi journeys into the unknown to bring back a new sacred tree and prevent the destruction of his village—only to discover, in the end, that the community itself is the true magical tree.
Morir con las luces encendidas, by Brian Reséndiz Rodríguez Brian Reséndiz RodríguezAfro, Oaxaca.An Afro-Mexican filmmaker and photographer from the Costa Chica region of Oaxaca. His work explores memory, emotions, and the relationship between the body, landscape, and identity. A recipient of grants from PECDA and IMCINE, he has developed documentary and photographic projects presented at educational and creative venues such as DocsMX, Ambulante Más Allá, Casa Wabi, and the Centro de la Imagen.Morir con las luces encendidasFiction, shortCheluis and his friends spend the afternoon filming a music video in Corralero, Oaxaca. As night falls, they set off for home, confident in the future that lies ahead. On the highway, a pickup truck emerges from the darkness and starts following them. Inspired by real events, Morir con las luces encendidas reconstructs, in near real time, the final hours of three young people of African descent from the Costa Chica.
Kolel, by Ana Ts'uyeb Ana Ts'uyebTsotsil, Chiapas.A Tsotsil filmmaker and communications specialist. Her work honors the memory of Indigenous peoples. A graduate of the Intercultural University of Chiapas, she trained at ECAMC-IMCINE. With her debut documentary, Li Cham (Morí), she won the award for Best Mexican Documentary Feature at FICM 2024, the Rigoberta Menchú Grand Prix in Montreal, and toured festivals such as Hot Docs and Sheffield DocFest.Kolel (Sanar)Documentary, featureTo heal her fragmented soul, the director returns to her roots. Through an intimate dialogue with her father, Pablo—a man who inherited and perpetuated patterns of violence—she explores generational trauma on a personal journey that intertwines psychological therapy with the ancestral tradition of Tsotsil prayer.
La muda, de Graciela Villanueva Graciela VillanuevaZapoteca-mixteca, OaxacaShe graduated with a degree in Communication Sciences from the Universidad del Mar in Oaxaca. She has worked primarily in casting and as an assistant director. She was part of IMCINE’s Polos Audiovisuales program and has received a grant from FONCA. She specializes in working with non-professional actors and has participated in auteur films such as Roma, Noche de Fuego, Estela de Sombra, and El Eco. She currently combines casting direction with her work as an acting coach.La mudaFiction, shortPetra, 35, is getting over a breakup—until something inside her snaps and she loses control. She takes refuge in her home as dark spots appear on her body and harden into scabs. She finds a beetle's pupa on her bed and, without fear, sleeps beside it. The mutation progresses, and amid contortions, she transforms into an animal. Her voice, now reduced to creaking sounds, leads us into a cave. Petra no longer needs a body to exist.
ASESORES Sofía Arroyo An activist and philanthropy professional dedicated to social justice, systemic change, indigenous rights, gender and climate justice, and new narratives. A graduate of the Universidad Iberoamericana, she holds a bachelor’s degree in communication with a specialization in film. She has worked in the film and advertising industries as a first assistant director and as a director. She has held various roles in philanthropy, including executive director of the EDGE Funders Alliance. She is currently co-director of operations at the Hopper-Dean Foundation. A recipient of a fellowship from the Open Society Foundation’s Fund for New Executives, Sofía served on the board of directors of International Funders for Indigenous Peoples and is currently co-chair of the board of directors of JASS (Just Associates) and a member of the board of directors of the Panta Rhea Foundation. She has served as a consultant on strategic partnerships and film. Myriam Bravo Actress and producer. She made her debut in 2007 with Espiral and has appeared in films such as La casa más grande del mundo, Huachicolero, Vergüenza, Mujeres del alba, Nudo mixteco, and Valentina o la serenidad, for which she won the Colón de Plata at the 2023 Huelva Film Festival and was nominated for an Ariel Award in 2024. In short films, she stands out in Patrona, Un brillo de amor incomprensible, El tigre y la flor, La carta, La tiricia o cómo curar la tristeza, and El cortejo. Her performance in La tierra y la carne received the Best Performance award at the Buenos Aires International Film Festival. Since 2011, she has worked as a casting director and acting coach, in addition to leading workshops that foster training and creativity among local performers. She is a co-founder of Cinema Sorora, a film festival featuring films directed by women. Amalia Córdova Curator and researcher specializing in Indigenous cinema. She co-directs the Mother Tongue Film Festival. She served as supervising curator at the Smithsonian Institution’s Center for Folk Traditions and Cultural Heritage and worked at the Smithsonian Institution’s National Museum of the American Indian’s Center for Film and Video as a Latin American specialist. She taught workshops on Indigenous cinema at New York University’s Gallatin School of Individualized Study. She earned a Ph.D. in Film Studies and a master’s degree in Performance Studies, both from New York University. She holds a bachelor’s degree in Fine Arts and Aesthetics from the Pontifical Catholic University of Chile in Santiago. Her book Frames of Resistance: the Cinemas of Abya Yala (2025) was published by Oxford University Press. She is from Santiago, Chile/Wallmapu. Martha Fritz She holds a Bachelor’s degree in Communication Sciences from the Universidad Iberoamericana and specializes in the administration of music catalogs and related royalties, as well as the management of music and audiovisual material licenses. Throughout her career, she has worked in various areas of the entertainment industry; she is currently an associate at All Entertainment Abogados, S.C., a firm that provides legal and administrative consulting services to creators and holders of copyright and related rights. Primarily, she works closely with audiovisual directors and producers to optimize their resources and secure quality music and content for their projects. She currently serves as vice president of the Asociación de Supervisión Musical de Habla Hispana, A.C. (ASM). She has participated in numerous continuing education seminars on the subject and has had the privilege of being invited to workshops and conferences to share her expertise. Alejandra Ley Actress, singer, comedian, artivist, and Fer's mother. She has a 33-year career in the arts and debuted in telenovelas such as Carrusel de las Américas, Marimar, and Los Sánchez. She has appeared in series such as Blue Demon and Contra las cuerdas, and currently plays Abi, la Neni in La Oficina (Mexico's very own take on The Office). Her filmography includes Cuatro Lunas, Locas por el Cambio, and La Usurpadora: The Musical; and her theater credits include Madre Coraje and La Tía Mariela. In 2025, she celebrated her career with Perfidia: boleros en deconstrucción at the International Cabaret Festival. As a stand-up comedian, she was the first woman to record a special in Spanish for Comedy Central, and she has performed in Mexico and Colombia. She is a vocalist for Las Pinups, the creator of the feminist festival La Verbena Sorora, and in 2023 she received an award from the Senate for her work in advocating for the LGBT+ community. Laura Santullo Writer and screenwriter, author or co-author of feature films such as La Zona, Desierto adentro, La demora, Un monstruo de mil cabezas, El otro Tom—which she also co-directed with Rodrigo Plá—and La caja. Her latest film, Los nuevos, recently premiered at the Locarno Film Festival. She has received three Ariel Awards, the Best Screenplay Award at the Athens International Film Festival, Best Screenplay at the Lima Film Festival, and Best Director Awards at both the Warsaw Film Festival and the Morelia Film Festival. She has also published five novels and a collection of short stories. Since 2012, he has taught classes and workshops on screenwriting and film adaptation at institutions such as the ECU, the CCC, and the EICTV, as well as in various cities across Mexico. She has led numerous workshops and seminars on film adaptation and screenwriting. Xun Sero Cinematographer, editor, and film director of Tsotsil Maya descent. He received his training through workshops and specialized certificate programs in documentary filmmaking, including Ambulante Más Allá, El CCC con Patas, and the San Cristóbal de Las Casas School of Documentary Film, where he currently teaches the cinematography course. As a director of photography, he has worked on documentaries including: Negra y Nyanga, by Medhin Tewolde; Ágatha y el amor and Kuxlejal, by Elke Franke; El Nail and Don de ser, by Néstor A. Jiménez; Ch’ul be – Senda sagrada, by Humberto Gómez; Un lugar más grande, by Nicolas Défossé; and Marino y los Auténticos, by Cristóbal Jasso. In 2022, he made his directorial debut with the feature-length documentary Mamá. He is currently developing De aspecto indígena and is a grantee of the National System for Art Creators, where he is working on the documentary series Tsotsil. Cristina Velasco A producer originally from the Tijuana–San Diego region. She began her career in 2001 with Bulbo TV, an independent media project that evolved into a radio station, a publishing house, a record label, and an online streaming service. She graduated with honors from the University of California, San Diego, and has participated as an artist in international events. She has produced both fiction and documentary films, including El cuarto desnudo, Carmín tropical, Eisenstein en Guanajuato, Nuevo Orden, Sundown, El Gran Fellove, and El Guardián, as well as award-winning documentaries at festivals such as Morelia, Berlin, Venice, San Sebastián, and Warsaw. Between 2015 and 2018, she headed key divisions at IMCINE, including FOPROCINE, the National Filming Commission, and EFICINE. She currently runs Paloma Negra Films, a boutique production company focused on international auteur cinema. Jorge Villalobos de la Torre Screenwriter, producer, and director of animated feature and short films—both documentary and fiction—for film and television, which have been screened at 60 festivals around the world. On the public television channel Canal Once, he directed the shows El Diván de Valentina and Bizbirije. He has published three books of short stories—two as a writer and one as an illustrator. He is a co-founder of Brinca Taller, an animation studio where he produced the film Home is Somewhere Else, Mexico’s first animated feature-length documentary, which won fifteen national and international awards, including the 2023 Ariel Award for Best Animated Feature Film. He is currently producing the documentary Soñar con Momo and developing El gigante y la bailarina, his studio’s upcoming feature films. He is an active member of the National System of Art Creators.
Sofía Arroyo An activist and philanthropy professional dedicated to social justice, systemic change, indigenous rights, gender and climate justice, and new narratives. A graduate of the Universidad Iberoamericana, she holds a bachelor’s degree in communication with a specialization in film. She has worked in the film and advertising industries as a first assistant director and as a director. She has held various roles in philanthropy, including executive director of the EDGE Funders Alliance. She is currently co-director of operations at the Hopper-Dean Foundation. A recipient of a fellowship from the Open Society Foundation’s Fund for New Executives, Sofía served on the board of directors of International Funders for Indigenous Peoples and is currently co-chair of the board of directors of JASS (Just Associates) and a member of the board of directors of the Panta Rhea Foundation. She has served as a consultant on strategic partnerships and film.
Myriam Bravo Actress and producer. She made her debut in 2007 with Espiral and has appeared in films such as La casa más grande del mundo, Huachicolero, Vergüenza, Mujeres del alba, Nudo mixteco, and Valentina o la serenidad, for which she won the Colón de Plata at the 2023 Huelva Film Festival and was nominated for an Ariel Award in 2024. In short films, she stands out in Patrona, Un brillo de amor incomprensible, El tigre y la flor, La carta, La tiricia o cómo curar la tristeza, and El cortejo. Her performance in La tierra y la carne received the Best Performance award at the Buenos Aires International Film Festival. Since 2011, she has worked as a casting director and acting coach, in addition to leading workshops that foster training and creativity among local performers. She is a co-founder of Cinema Sorora, a film festival featuring films directed by women.
Amalia Córdova Curator and researcher specializing in Indigenous cinema. She co-directs the Mother Tongue Film Festival. She served as supervising curator at the Smithsonian Institution’s Center for Folk Traditions and Cultural Heritage and worked at the Smithsonian Institution’s National Museum of the American Indian’s Center for Film and Video as a Latin American specialist. She taught workshops on Indigenous cinema at New York University’s Gallatin School of Individualized Study. She earned a Ph.D. in Film Studies and a master’s degree in Performance Studies, both from New York University. She holds a bachelor’s degree in Fine Arts and Aesthetics from the Pontifical Catholic University of Chile in Santiago. Her book Frames of Resistance: the Cinemas of Abya Yala (2025) was published by Oxford University Press. She is from Santiago, Chile/Wallmapu.
Martha Fritz She holds a Bachelor’s degree in Communication Sciences from the Universidad Iberoamericana and specializes in the administration of music catalogs and related royalties, as well as the management of music and audiovisual material licenses. Throughout her career, she has worked in various areas of the entertainment industry; she is currently an associate at All Entertainment Abogados, S.C., a firm that provides legal and administrative consulting services to creators and holders of copyright and related rights. Primarily, she works closely with audiovisual directors and producers to optimize their resources and secure quality music and content for their projects. She currently serves as vice president of the Asociación de Supervisión Musical de Habla Hispana, A.C. (ASM). She has participated in numerous continuing education seminars on the subject and has had the privilege of being invited to workshops and conferences to share her expertise.
Alejandra Ley Actress, singer, comedian, artivist, and Fer's mother. She has a 33-year career in the arts and debuted in telenovelas such as Carrusel de las Américas, Marimar, and Los Sánchez. She has appeared in series such as Blue Demon and Contra las cuerdas, and currently plays Abi, la Neni in La Oficina (Mexico's very own take on The Office). Her filmography includes Cuatro Lunas, Locas por el Cambio, and La Usurpadora: The Musical; and her theater credits include Madre Coraje and La Tía Mariela. In 2025, she celebrated her career with Perfidia: boleros en deconstrucción at the International Cabaret Festival. As a stand-up comedian, she was the first woman to record a special in Spanish for Comedy Central, and she has performed in Mexico and Colombia. She is a vocalist for Las Pinups, the creator of the feminist festival La Verbena Sorora, and in 2023 she received an award from the Senate for her work in advocating for the LGBT+ community.
Laura Santullo Writer and screenwriter, author or co-author of feature films such as La Zona, Desierto adentro, La demora, Un monstruo de mil cabezas, El otro Tom—which she also co-directed with Rodrigo Plá—and La caja. Her latest film, Los nuevos, recently premiered at the Locarno Film Festival. She has received three Ariel Awards, the Best Screenplay Award at the Athens International Film Festival, Best Screenplay at the Lima Film Festival, and Best Director Awards at both the Warsaw Film Festival and the Morelia Film Festival. She has also published five novels and a collection of short stories. Since 2012, he has taught classes and workshops on screenwriting and film adaptation at institutions such as the ECU, the CCC, and the EICTV, as well as in various cities across Mexico. She has led numerous workshops and seminars on film adaptation and screenwriting.
Xun Sero Cinematographer, editor, and film director of Tsotsil Maya descent. He received his training through workshops and specialized certificate programs in documentary filmmaking, including Ambulante Más Allá, El CCC con Patas, and the San Cristóbal de Las Casas School of Documentary Film, where he currently teaches the cinematography course. As a director of photography, he has worked on documentaries including: Negra y Nyanga, by Medhin Tewolde; Ágatha y el amor and Kuxlejal, by Elke Franke; El Nail and Don de ser, by Néstor A. Jiménez; Ch’ul be – Senda sagrada, by Humberto Gómez; Un lugar más grande, by Nicolas Défossé; and Marino y los Auténticos, by Cristóbal Jasso. In 2022, he made his directorial debut with the feature-length documentary Mamá. He is currently developing De aspecto indígena and is a grantee of the National System for Art Creators, where he is working on the documentary series Tsotsil.
Cristina Velasco A producer originally from the Tijuana–San Diego region. She began her career in 2001 with Bulbo TV, an independent media project that evolved into a radio station, a publishing house, a record label, and an online streaming service. She graduated with honors from the University of California, San Diego, and has participated as an artist in international events. She has produced both fiction and documentary films, including El cuarto desnudo, Carmín tropical, Eisenstein en Guanajuato, Nuevo Orden, Sundown, El Gran Fellove, and El Guardián, as well as award-winning documentaries at festivals such as Morelia, Berlin, Venice, San Sebastián, and Warsaw. Between 2015 and 2018, she headed key divisions at IMCINE, including FOPROCINE, the National Filming Commission, and EFICINE. She currently runs Paloma Negra Films, a boutique production company focused on international auteur cinema.
Jorge Villalobos de la Torre Screenwriter, producer, and director of animated feature and short films—both documentary and fiction—for film and television, which have been screened at 60 festivals around the world. On the public television channel Canal Once, he directed the shows El Diván de Valentina and Bizbirije. He has published three books of short stories—two as a writer and one as an illustrator. He is a co-founder of Brinca Taller, an animation studio where he produced the film Home is Somewhere Else, Mexico’s first animated feature-length documentary, which won fifteen national and international awards, including the 2023 Ariel Award for Best Animated Feature Film. He is currently producing the documentary Soñar con Momo and developing El gigante y la bailarina, his studio’s upcoming feature films. He is an active member of the National System of Art Creators.
