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Oleaga; Maider

She studied audiovisual communication at the University of Navarra (UNAV), Spain. Her work has been presented at more than 20 festivals around the world. She won the Best Director award at the 6th Festival de Laguardia, Álava, Spain, for her short fiction film La muerte de Sardanápalo (2001). She participated in the 48th Valladolid International Film Festival Seminci, Spain, and the 32nd Alcalá de Henares Film Festival (ALCINE,  Spanish), Spain, among other festivals, with her short fiction film Sarah (mirándote) (2001), which won a Mention for Best Photography at the 7th Zaragoza Film Festival (FCZ, in Spanish), Spain. She participated in the 5th International Documentary Film Festival of Mexico City (DocsDF, in Spanish) and the 8th Donostia San Sebastián Human Rights Film Festival, Spain, among others, with her feature-length documentary Amaren Ideia (2010), which won the award for Best Work of the Michoacán Section at the 8th Morelia International Film Festival (FICM) and the Gold Dolphin Trophy in the category of Ethnographic and Sociological Documentary at the 1st Cannes Corporate Media & TV Awards, Austria. Her short fiction film Sitios prestados al aire (2011) won the 11th National Short Film Competition by the Mexican Film Institute (IMCINE) and a Special Mention at the 37th Iberoamerican Film Festival of Huelva, Spain. She participated, with her short documentary film Esperanza (2012), in the 7th DocsDF, the 40th International Film Festival of Huesca, Spain, and the 7th MiradasDoc Market and International  Documentary Film Festival, Guía de Isora, Spain, among others.

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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