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Aguilar; Nicolás

He took the general cinematography course, specializing in directing and sound, at the CCC film school, Mexico City. He has worked as a sound designer in various films that have been shown at festivals and film forums throughout the world: Perro azul (2012), by Federico Zuvire, and Contrafábula de una niña disecada (2012), by Alejandro Iglesias, participatd in the 10th Morelia International Film Festival (FICM); La vida después (2013), by David Pablos, and La laguna encantada (2013), by Pablo Pérez Lombardini, participated in the 11th FICM; La Parka (2013), by Gabriel Serra, participated in the 11th FICM and was nominated for Best Short Documentary at the 87th Academy Awards Ceremony, United States; and Ella (2014), by Ximena Urrutia, participated in the 12th FICM. His short film Narcolepsia (2013) was selected for the 36th Cairo International Film Festival, Egypt. His short documentary Mi paraíso (2015) was part of the Official Selection of the 13th FICM.

Other Movies

Sujo

Sujo

When a cartel gunman is killed, he leaves behind Sujo, his beloved 4-year-old son. The shadow of violence surrounds Sujo during each stage of his life in the isolated Mexican countryside. As he grows into a man, Sujo finds that fulfilling his father’s destiny may be inescapable.

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Sujo

Sujo

When a cartel gunman is killed, he leaves behind Sujo, his beloved 4-year-old son. The shadow of violence surrounds Sujo during each stage of his life in the isolated Mexican countryside. As he grows into a man, Sujo finds that fulfilling his father’s destiny may be inescapable.

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Mexico will no longer exist!

¡Aoquic iez in Mexico! ¡Ya México no existirá más!

A frenetic view runs over a convulsed Mexico City, a colossal metropolis sustained by the myth of "mestizaje" and other colonial forms of violence. Past and present weave a flurry of images; fragmented memories of this land. Ancient deities are incarnated, while dreams overlap among intimacy, complicity and the tumult. This is an erratic film that invites us to reimagine the complex relationship we have with the constructed “mexicanidad.”

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