2019 | B/N | 18:40 In 2013, the Community Self-Defense Groups originated in the state of Michoacán with the aim of eradicating cartels from their communities. But it wasn’t until 2014, in Nueva Italia, Michoacán, that these groups looted and burned properties linked to drug trafficking, including the only movie theater in town. Country: México Direction: Landa; Yudiel Script: Landa; Yudiel Production: Landa; Yudiel Photography: Landa; Yudiel Sound: Carreño; Valeria Leticia Music: Blendl; Cheba Participation year at FICM: 2020
2019 | B/N | 18:40 In 2013, the Community Self-Defense Groups originated in the state of Michoacán with the aim of eradicating cartels from their communities. But it wasn’t until 2014, in Nueva Italia, Michoacán, that these groups looted and burned properties linked to drug trafficking, including the only movie theater in town. Country: México Direction: Landa; Yudiel Script: Landa; Yudiel Production: Landa; Yudiel Photography: Landa; Yudiel Sound: Carreño; Valeria Leticia Music: Blendl; Cheba Participation year at FICM: 2020
Camera obscura Eighteen years ago, Gerardo Sansón Pérez lost his memory in a car accident. After two weeks in a coma, he woke up. But he would never be the same. Unable to remember his career, the search for work led him to a new lifelong profession: film projectionist. Since then, the projection booth has become Gerardo’s space for introspection, where images reveal themselves as his own memories. See More
María Valverde premiered EL CANTO DE LAS AVES at the 23rd FICM and Unveiled Her Armchair 10 · 16 · 25 Travis Gutiérrez's ASCO: WITHOUT PERMISSION Premiered at the 23rd FICM with Gael García Bernal in Attendance 10 · 16 · 25 Jorge Fons' MIDAQ ALLEY Celebrates 30 Years at the 23rd FICM 10 · 16 · 25 64th Critics' Week: Léo Ortuno Presented Pauline Loquès' NINO at the 23rd FICM 10 · 16 · 25
María Valverde premiered EL CANTO DE LAS AVES at the 23rd FICM and Unveiled Her Armchair 10 · 16 · 25
Travis Gutiérrez's ASCO: WITHOUT PERMISSION Premiered at the 23rd FICM with Gael García Bernal in Attendance 10 · 16 · 25
