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Perezcano, Rigoberto

He studied cinematography at the CUEC-UNAM film school. His work has participated in more than 10 festivals around the world, including two editions of the Morelia International Film Festival (FICM). At the 1st FICM, he won the Best Medium-Length Documentary for XV en Zaachila (2002), nominated for an Ariel for Best Documentary Short Film at the 46th Ariel Awards Ceremony. At the 7th FICM, he competed with his first film Norteado (2009), which won, among other awards, the Cinema Under Construction Award at the 56thSan Sebastián International Film Festival; the Best Director award at the 50th Thessaloniki International Film Festival (TIFF); the KNF Award by the Circle of Dutch Film Journalists at the 39th International Film Festival Rotterdam (IFFR); and the Golden Star, Grand Prize and Best Picture awards at the 9th Marrakech International Film Festival (FIFM in French), Morocco. He won the Best Mexican Feature Film Award at the 12th FICM for his feature film Carmín Tropìcal (2014).

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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