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Boyacioglu; Beyza

She received a master’s degree in computational art at the School of Visual Arts (SVA), New York, and in Comparative Media Studies and Writing at the Massachusetts Institute of Technology (MIT), United States. She won, among other grants, an Academic Excellence Scholarship, from 2007 to 2009, from the Sabanci University, Turkey, and was selected as a UnionDocs Collaborative Fellow, Brooklyn, New York, during the period 2012-2013. She participated in the 60th Robert Flaherty Film Seminar, with a grant from the LEF Foundation, United States. Her documentary short film Toñita’s (2013), in co-direction with Sebastián Díaz Aguirre, was part of the Official Selection of the 12th Morelia International Film Festival (FICM). This work received the Brooklyn Pride Award at the 17th Brooklyn Film Festival (BFF), New York, and has been presented, among other film screenings and festivals, at the 15th MoMa Documentary Fortnight, at the Museum of Modern Art of New York, where it had its world premiere; the 25th New Orleans Film Festival (NOFF); and the Documentarist 2014, Istanbul, Turkey.

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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