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García Franco, Andrés

He studied cinematography at the CUEC-UNAM film school in Mexico City and received a master’s degree in visual arts and film from the San Francisco Art Institute (SFAI), California, United States, with grants from the Fulbright-García Robles and the National Fund for Culture and the Arts (FONCA). He won the Film Production grant of the UNAM Film Archives in 2004, and the CUEC’s First Feature Length Documentary Competition, in 2012, to make La historia negra del cine mexicano, which is currently in postproduction. His cinematographic work has been presented at various film screenings and festivals around the world, including two editions of the Morelia International Film Festival (FICM). He participated with his short fiction film La Invención de Morel (2009) in the 4th Morelia International Film Festival (FICM); the Short Film Corner of the 61st Cannes Film Festival, France; and the 55th San Sebastián International Film Festival, Spain, among others. The film won First Place in the Kodak Film School Cinematography Competition 2006, and a Special Mention in the 6th International Film Schools Festival, in the context of the 55th San Sebastián International Film Festival, Spain. At the 7th FICM, he presented his essay film Cines abandonados (2009) in the Cinema Without Borders section. He has also presented various installations and presentations of film live in museums and art galleries around the world, including the San Francisco Museum of Modern Art (SFMOMA), California, and the Alameda Art Laboratory, Mexico City.

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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