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García, Celso Ricardo

He studied communication at the Jesuit University of Guadalajara (ITESO, in Spanish), Mexico. His work has participated in more than 40 festivals around the world, including three editions of the Morelia International Film Festival (FICM). He participated in the 1st FICM with his short fiction film Su radito (2002), which won the Radiactivo Máximo 9.85 short film contest in 2002. He competed in the 2nd FICM with Pata de Gallo (2004), winner of the 3rd National Competition for Short Film Projects launched by the Mexican Film Institute (IMCINE). His short film La leche y el agua (2006) participated in the 4th FICM and received 22 national and international awards, including Best Mexican Short Film at the 21st Guadalajara International Film Festival (FICG, in Spanish); an Honorable Mention at the 10th Los Angeles Latino International Film Festival (LALIFF); a Special Mention at the 28th International Festival of New Latin American Film in Havana, Cuba; a Special Jury Award at the 4th Asiana International Short Film Festival (AISFF), Japan; and Best Short Film at the 32nd Iberoamerican Film Festival of Huelva, Spain. He finished his first feature film La delgada línea amarilla in 2014.

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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