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Bourges, Javier

His work has been presented at more than 30 film screenings and festivals around the world. His short fiction film The Last New Year (1991) won the Foreign Student Film Award at the 65th Academy Awards, Student Oscar for Best Foreign Short Film in 1993; the First Golden Colón Award at the 18th Iberoamerican Film Festival of Huelva, Spain; the First Golden Danzante Award at the 20th Iberoamerican Film Festival of Huesca, Spain; and a nomination for an Ariel for Best Short Film at the 34th Ariel Awards, Mexico, among others. His short fiction film Peor es nada (1994) won the Silver Jaguar at the 3rd Cancun International Film Festival, México, and was nominated for an Ariel for Best Mexican Short Film at the 34th Ariel Awards. He participated in the 2nd Morelia International Film Festival (FICM) with his short fiction film Espíritu deportivo (2004), nominated for the Silver Goddess Award for Best Feature Short Film at the 34th Silver Goddess Awards, Mexico. The Last New Year was shown at the 12th FICM, as part of the 20th anniversary of the Mexican Short Film Forum.

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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