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Sara Stephany Padilla

Padilla; Sara Stephany

Direction, Script, Production
Sara Padilla Trinidad is a Mexican filmmaker, producer, educator, and ethnologist. She is also part of the collective Tsii Dyoo, formed by filmmakers from Indigenous communities in the State of Mexico, where she takes part in community-based film training, production, and exhibition. Additionally, she coordinates Cinito Mirador, a travelling film exhibition and training  project aimed at communities in the northern region of the State of Mexico.
As filmmaker, she directed, wrote, and developed the documentary project Máscaras de tiempo, which was supported by the FOCINE [by its acronym in Spanish, Programa de fomento al cine mexicano] Program of the Mexican Film Institute [IMCINE, by its acronym in Spanish, Instituto Mexicano de Cinematografía]. This short film portrays the sacred cycle of the Hñähñu milpa and the Carnival as an ancestral celebration rooted in resistance and community memory.
She currently serves as Audiovisual Production Coordinator at La Sandía Digital, where she works on projects that use film, training, and communication as tools to strengthen the narratives and processes of communities and social organizations.

Other Movies

Naza

Naza
Shot at night on the rooftops of Tel Aviv, the film reveals in detail the systems behind Israel’s calculated mass killing of Palestinian civilians in Gaza. See More

5 de chocolate y 1 de fresa

5 de chocolate y 1 de fresa
Esperanza is a young novice living in a quiet convent full of old nuns. After eating some “special” mushrooms, innocent Esperanza becomes modern and psychedelic Brenda: a subversive girl who raids a high-society party, sings subversive songs and charms young fellows. See More

The Buzz

Zumbido
During a live national television interview, Verónica, a famous and widely admired actress, struggles to uphold the image of a perfect life as her inner world fractures under the weight of private abuse. Trapped between silence, fear, and a sudden panic attack, she must decide whether to continue performing the illusion—or break the cycle in front of everyone. See More

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