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Vargas Torres, Cecilio

He studied theater at the University of the Arts, Aguascalientes, Mexico. He won the Young Creators Scholarship of the National Fund for Culture and the Arts (FONCA) to make the digital 3D animated short film, El último canto, which is in the process of post-production. He is currently working in a theater-installation program called Residua 1.0, which consists of the handling of a puppet in the street. This project is being conducted at his animation and aesthetic arts studio El Bigote de Chaplin, founded in 2008. His animated short film Dame Posada (2011) has been shown at more than 50 festivals, film screenings and museums around the world, including the 9th Morelia International Film Festival (FICM); the 39th SIGGRAPH's Computer Animation Festival, Los Angeles; the Amon Carter Museum, Texas; the National Print Museum, Mexico City; and the museum Arts House Madrid, among others. This film received the award for Best Animated Project of the QUORUM 2012, Mexico City; Best Animation at the 7th Short Shorts Film Festival Mexico (SSFFM); Best Emerging Director at the 2nd MIA Animation Conference & Festival, Miami, United States; and a nomination for the Ariel award for Best Animated Short Film at the 55th Ariel Awards, Mexico. His short fiction film Bird song (2016) is part of the Official Selection of the 14th 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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