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Huerta Cano, Dalia

She studied communication at the Jesuit University of Guadalajara (ITESO). She took several workshops at the University of Guadalajara, at the Utrecht University and at the International School of Film and Television (EICTV) of San Antonio de los Baños, among others. She participated in Berlinale Talents 2014 and took the workshop “Work in a Single Shot”, imparted by Harun Farocki at the University Museum of Contemporary Art (MUAC), and the workshop “Experimental Cinema”, imparted by Jesse Lerner at the Alameda Art Laboratory, in Mexico City. Her work has participated in four editions of the Morelia International Film Festival (FICM) and has been shown in more than 20 film festivals around the world. Her short documentary film Carne que recuerda (2009) won, among other prizes, the award for Best Short Documentary at the 8th FICM and the Best Mexican Short Film at the 5th Mexico City International Documentary Film Festival (DocsDF). She participated in the 10th FICM with ¿Olvida usted algo? (2012), winner of the Zanate Short / Medium-Length Film Award at the 6th Documentary Film and Video Festival Zanate, Mexico. She participated in the 11th FICM and in the 9th Cologne International Film Festival, CologneOFF, Lithuania, with El fin de la existencia de las cosas (2013), which won a Special Mention at FESAALP (Festival de Cine Latinoamericano de la Plata), in Argentina. In 2016, in co-direction with Ivan Puig, she made Cåsucka (2016), winner of the post-production award “Región Occidente”, granted by the Mexican Film Institute (IMCINE) and also part of the Official Selection of the 14th FICM

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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