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Contreras, Ernesto

He studied publicity at the Center for Communication Studies (CECC) in Mexico City. He has participated in three editions of the Morelia International Film Festival (FICM). He received a Special Mention at the 1st FICM for his short fiction film Los no invitados (2003), also winner of the Best International Short Film Award at the 46th Ariel Awards Ceremony. His first film Párpados azules (2007) premiered at the 5th FICM and participated in more than 30 festivals around the world. It won, among other prizes, the Ariel for Best First Feature at the 50th Ariel Awards Ceremony, the Special Jury Award at the 24th Sundance Film Festival, and a Special Mention at the Horizontes Latinos Section of the 55th San Sebastián International Film Festival. He presented his short film El milagro (2000) at the tribute to Pepe Escriche at the 6th FICM. El milagro won, among other prizes, the Best International Short Fiction Film Award at the 9th FESANCOR - Chilean International Short Film Festival of Santiago, and a Special Mention at the 28th International Film Festival of Huesca, Spain.

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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