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Terán; Fausto

He studied Entertainment, Media & Technology (EMT) at New York University (NYU). He also took courses in visual arts at the School of Visual Arts (SVA), actor direction at the Herbert Berghof Studio (HB Studio) and post-production at Open-i Media, also in New York. Specialized in photography and in experimentation with traditional and digital tools, his work has participated in diverse festivals and art galleries around the world. He participated in the Official Selection of the 4th Morelia International Film Festival (FICM) with his short fiction film 1975 (2006). In 2012, he showed a photographic exhibition at Casa Maauad, as part of the interdisciplinary project ADF, titled “Blind Doberman”. He has received multiple awards for his work in cinema, video and advertising; among them the Círculo de Oro Award, granted by the Círculo Creativo of Mexico, for his campaign “Expulsación de Sky” in 2005; he also won eight awards at the 8th Festival Pantalla de Cristal, Mexico, for the corporate campaign “Así somos”; and Best Latin American Video at the Oye Awards for his videclip for the Mexican singer Alejandra Guzmán, Por qué no estás aquí (2010). He was a finalist in the 52nd edition of the Cannes Lions for his Wonderbra ad Cinturón de seguridad (2005).

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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