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Vergara Zatarain, Amaury

He studied at the New York Film Academy (NYFA). He started his career making commercials, cinema verité and video clips, and was part of the directing staff of Pan's Labyrinth (2006) by Guillermo del Toro, which premiered in the context of the 4th Morelia International Film Festival (FICM). He is the founder of ORGN, a film, advertising and awareness production company in Mexico. He won the Best Short Film Award at the 2nd International Film Festival Antigua Barbuda (IFFAB) for his short fiction film Piano mudo (2011), which also participated in the 10° FICM and in the 7th Byron Bay Film Festival (BBFF), Australia. He won the Best Short Film Award presented by the Jalisco Film Academy in the context of the 29th Guadalajara International Film Festival (FICG) for his short fiction film Marea (2014), which was part of the Official Selection of the 4th Festival Arte Careyes Film & Art, Mexico, and which was presented at the ACME Brooklyn Gallery, New York, in May 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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