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Alba, Francisco Franco

He studied cinematography at the CUEC-UNAM film school in Mexico City. He participated in the 5th Morelia International Film Festival (FICM) with his first feature film Quemar las naves (2007), which won the Audience Award and the AMC Award for Best Photography in a Mexican Feature Film. The film also received the French Critics “Découverte” Award at the 20th Toulouse Latin American Film Festival, France; the Best Picture and Best Director awards at the Long Island Latino International Film Festival (LILIFF); the Audience Award at the 26th Torino Film Festival (TFF), Italy; an Ariel for Best Original Soundtrack for Alejandro Giacomán and Joselo Rángel at the 50th Ariel Awards Ceremony, Mexico; and the Best Actress award for Irene Azuela at the 22nd Napa Sonoma Wine Country Film Festival, United States. His second feature film Tercera llamada (2012) won an Ariel for Best Adapted Screenplay (co-written with María René Prudencio) at the 56th Ariel Awards Ceremony; Best Picture at the 21st San Diego Latino Film Festival (SDLFF); Best Edition for Mariana Rodríguez at the 35th International Festival of New Latin American Film, Havana, Cuba; and Best Actress (for the entire female cast) and the Audience Award at the 28th Guadalajara International Film Festival (FICG, in Spanish), among others.

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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