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Díaz Pardo, Christian

He studied cinematography at the CCC film school and took a course on art direction and a screenwriting workshop at the CUEC–UNAM film school in Mexico City. He also studied photography at the Professional Institute of Art and Communication of Santiago (ARCOS), Chile, and took several seminars on filmmaking at the Jumex Museum and at IMCINE and at the National Film School of Denmark in Copenhagen. His work has participated in more than 10 festivals around the world, in addition to two editions of the Morelia International Film Festival (FICM). He presented his short fiction film Los esquimales y el cometa (2004) at the 2nd FICM. He then participated with his short film Antes del desierto (2009) at the 10th Martil International Film Festival, Morocco, and the 34th São Paulo International Film Festival, among other festivals. His first feature film González (2013) competed at the 11th FICM and won the Best Actor Award for both Carlos Bardem and Harold Torres. It also won the Best Feature Film Award at the 1st International Film Festival of Aguascalientes, Mexico.

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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