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Kishi Leopo, Samuel Isamu

He studied audiovisual arts at the University of Guadalajara (U. de G.). His work has been presented at more than 20 festivals around the world, including three editions of the Morelia International Film Festival (FICM). He participated in the 7th FICM with his short fiction film Luces negras (2009), which won the Best Mexican Short Film award at the 3rd Cancún Riviera Maya International Film Festival, among other prizes. His short fiction film Mari Pepa (2011) won the award for Best Audiovisual Production at the 18th Latin American Video and Audiovisual Arts Festival of Rosario, Argentina, and Best Short Fiction Film at the 9th FICM and the 26th Guadalajara International Film Festival (FICG). His first feature Somos Mari Pepa (2013) was part of the Official Selection at the 11th FICM, the 23rd Toulouse Latin American Film Festival, and the 54th Cartagena International Film Festival, among others. He won the Press Award for the film at the 16th Guanajuato International Film Festival (GIFF) and an Honorable Mention at the 31st Miami International Film Festival (MIFF).

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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