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Hofmann; Sebastián

He studied film at the Arts Center College of Design, Pasadena, California. He is the founder of the creative studio PIANO and has participated in numerous national and international film festivals, including two editions of the Morelia International Film Festival (FICM). He worked as photography director, editor and co-screenwriter in the feature film Canícula (2011), by José Álvarez, that was part of the Official Selection of the 9th FICM and that won, among other awards, the critics’ award FIPRESCI at the 14th Thessaloniki International Film Festival (TIFF) in Greece; the SIGNIS Award at the 24th Toulouse Latin American Film Festival, France; and the Young Jury Award at the 1st Riviera Maya Film Festival (RMFF), Mexico. He competed in the 10th FICM with his short fiction film Ismael (2012) and his first feature Halley (2012). Halley was shown at more than 50 film festivals around the world, including the 42nd International Film Festival Rotterdam (IFFR) and the 29th Sundance Film Festival, and won, among other awards, the Best New Director award at the 31st Munich Film Festival, Germany; the New Visions award at the 46th SITGES – International Fantastic Film Festival of Catalonia, Barcelona; and Best Photography at the 34th Durban International Film Festival (DIFF), South Africa. He was the photography director of the documentary feature by Nicolás Echevarría, Eco de la montaña (2013), which won the Jury Special Award and the Mezcal Award for Best Mexican Picture at the 29th Guadalajara International Film Festival (FICG), and the Best Documentary Award at the 18th Film Festival of Lima, Peru.

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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