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R. Garza, Luis

He studied information and communication sciences at the University of Monterrey (UDEM, in Spanish). His short fiction film ¡Ay del amor…ciego, eterno y fantasmal! (2003) participated in more than 10 festivals around the world, including the 2nd Morelia International Film Festival (FICM) and the 3rd International Low-Budget Film Festival in Gibara, Cuba. His documentary short film Los días cortos de los años largos (2008) was presented at the 3rd Riviera Maya Underground Film Festival (RMUFF) and at the 20th Ankara International Film Festival, among other festivals. It won the award for Best Documentary at the 5th Kinoki International College Film Festival, Mexico City. He presented his short film Mar del sur (2013) at the 8th Short Shorts Film Festival Mexico (SSFFM) and at the 11th Vancouver Latin American Film Festival (VLAFF). His first feature film Palomar (2014) is currently in the post-production stage and he works at Fumar es Causa de Cine, México, an independent film production company. His short fiction film El ingenio de la escalera (2014) was part of the Official Selection of the 12th 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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