2020 | Color | 13:16 Two neighbors, Elena (a woman with an orderly life, the “perfect” boyfriend, and neatly ironed clothes) and Irene (a free spirit who hates pre-established relationships and being tied down), are forced to spend a day together. They come to realize that they’re not so different—and sometimes there’s no better conversational partner than a stranger. Country: México Direction: Ayala Tabachnik; Nadia Script: Ayala Tabachnik; Nadia Production: Santamaría; Aura, Ayala Tabachnik; Nadia Photography: Villanueva; Emiliano Sound: Restelli; Filippo, Arroyo; Santiago Music: Lepró; Mayra Cast:Guerrero; Sonia, Évoli; María, Gurrola; Edwarda, Delgadillo; Victor Art direction: Camacho; Rafael Participation year at FICM: 2020
2020 | Color | 13:16 Two neighbors, Elena (a woman with an orderly life, the “perfect” boyfriend, and neatly ironed clothes) and Irene (a free spirit who hates pre-established relationships and being tied down), are forced to spend a day together. They come to realize that they’re not so different—and sometimes there’s no better conversational partner than a stranger. Country: México Direction: Ayala Tabachnik; Nadia Script: Ayala Tabachnik; Nadia Production: Santamaría; Aura, Ayala Tabachnik; Nadia Photography: Villanueva; Emiliano Sound: Restelli; Filippo, Arroyo; Santiago Music: Lepró; Mayra Cast:Guerrero; Sonia, Évoli; María, Gurrola; Edwarda, Delgadillo; Victor Art direction: Camacho; Rafael Participation year at FICM: 2020
Private Property Ana and Mariano run into each other after years without contact. As they share a short ride on public transport, they recall the time they spent together. They have both dreamed about this situation coming to pass, and it’s full of half-finished sentences, words suspended in mid-air, unconcluded gestures. Love also means letting go. See More
Marlon Brando and his connection with Mexico one hundred years after his death 04 · 04 · 24 Tarantino in Morelia 2009 03 · 27 · 24 If Juárez had not died… 03 · 21 · 24 EL HALCÓN, a tribute to wrestling films: Interview with Eduardo Valenzuela 03 · 15 · 24