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Ahumada de Mendoza; Argel

He studied communication and journalism at the National Autonomous University of Mexico (UNAM), and cinematography at the CCC film school, Mexico City. He has filmed several projects, including the short film Al fondo (2012) by Pablo Giles, which was presented at six festivals around the world; the short film Paradisio (2013) by Rodrigo Ruiz Patterson, which was shown at eight national and international festivals, including the 11th Morelia International Film Festival (FICM); the short film Perdona nuestras ofensas (2013) by Israel Ahumada, which was presented at more than 15 festivals around the world and won the Best Fiction Short Film and Best Actress Awards at the 1st Premios 360 for Independent Filmmakers, Mexico. He is currently in post-production for the documentary Dejar la piel by Israel Ahumada, a project that received the Doculatente Award of the Mexican Film Institute (IMCINE) at the DocuLab.6 of the 29th Guadalajara International Film Festival (FICG, in Spanish), Mexico. Dejar la piel participated in the IDFA Academy at the 27th International Documentary Film Festival Amsterdam (IDFA), Holland, and the 11th International Pitching Market of the 17th Guanajuato International Film Festival (GIFF), Mexico. Ahumada de Mendoza also participated in the making of two short films Fausto en la oscuridad by Israel Ahumada and Los tiempos de Héctor by Ariel Gutiérrez. His short documentary Benny (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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