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Múzquiz, Miguel

He studied communication at the Iberoamerican University (UIA, in Spanish) and took a course in screenwriting at the CCC film school in Mexico City. He received the Film Creators Grant 2009 from the Mexican Film Institute (IMCINE) for his feature screenplay El buen soldado.  He won the Best Feature Screenplay in the International Competition award at the 4th Oaxaca FilmFest for his screenplay Bardo. He participated in the 23rd Torino Gay and Lesbian Film Festival (TGLFF) and the 2nd Pride International Film Festival (PIFF), Manila, among others, with his short fiction film Puente (2007). He participated in the 6th Morelia International Film Festival as producer of the feature-length documentary Stanley Sprockets: 101 Ways to Make a World Tour (2008) by Erik Flores Zavala, and as director with his short documentary film Spital Zürich (2008). This last film participated in the Short Film Corner of the 61st Cannes Film Festival, among other festivals, and won the Best Mexican Short Film award at the 5th Monterrey International Film Festival (FICMonterrey, in Spanish), and two Special Mentions, for documentary and editing, at the 5th Kinoki International College Film Festival, Mexico City. He won a Special Mention at the Short Film Corner Cannes à la Flip Competition of the 61st Cannes Film Festival with his short fiction film Last Results (2008). He participated in the 6th FIC Monterrey and the 8th Lago Film Fest with his short fiction film Afuera (2011).

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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