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Esquivel, Eduardo

He studies a degree in Audiovisual Arts in the Department of Image and Sound of the University of Guadalajara. He was a jury of the Mezcal Prize at the International Guadalajara International Film Festival (FICG). His short documentary Uriel y Jade (2016), Official Selection of the 14th FICM, was winner of the Special Mention of the Jury at the International Film Festival of the Desert (FICD), and participated in the International Short Film Festival of Mexico- Shorts Mexico, the International Queer Film Festival in Monterrey, the International Film Festival with a Gender Perspective (MICGénero), among others. He is a partner of the Tardígrada production company. He is currently preparing his documentary film Las flores de la noche, a project supported by the Stimulus Program for Artistic Creation and Development (PECDA) and IMCINE for writing the script.

In 2017, he was part of the Official Selection FICM with his short fiction Lo que no se dice bajo el sol.

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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