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Hofmann; Sebastián

He studied film at the Arts Center College of Design, Pasadena, California. He is the founder of the creative studio PIANO and has participated in numerous national and international film festivals, including two editions of the Morelia International Film Festival (FICM). He worked as photography director, editor and co-screenwriter in the feature film Canícula (2011), by José Álvarez, that was part of the Official Selection of the 9th FICM and that won, among other awards, the critics’ award FIPRESCI at the 14th Thessaloniki International Film Festival (TIFF) in Greece; the SIGNIS Award at the 24th Toulouse Latin American Film Festival, France; and the Young Jury Award at the 1st Riviera Maya Film Festival (RMFF), Mexico. He competed in the 10th FICM with his short fiction film Ismael (2012) and his first feature Halley (2012). Halley was shown at more than 50 film festivals around the world, including the 42nd International Film Festival Rotterdam (IFFR) and the 29th Sundance Film Festival, and won, among other awards, the Best New Director award at the 31st Munich Film Festival, Germany; the New Visions award at the 46th SITGES – International Fantastic Film Festival of Catalonia, Barcelona; and Best Photography at the 34th Durban International Film Festival (DIFF), South Africa. He was the photography director of the documentary feature by Nicolás Echevarría, Eco de la montaña (2013), which won the Jury Special Award and the Mezcal Award for Best Mexican Picture at the 29th Guadalajara International Film Festival (FICG), and the Best Documentary Award at the 18th Film Festival of Lima, Peru.

Otras Películas

¡Aoquic iez in Mexico! ¡Ya México no existirá más!

¡Aoquic iez in Mexico! ¡Ya México no existirá más!

Una mirada frenética recorre la convulsa Ciudad de México, metrópolis colosal sostenida por el mito del mestizaje y otras violencias coloniales. Pasado y presente tejen una ráfaga de imágenes; memorias fragmentadas de este territorio. Deidades antiguas que se encarnan, sueños que se desdoblan entre la intimidad, la complicidad y el tumulto. Una película errática que nos invita a reimaginar la compleja relación que sostenemos con la “mexicanidad”.

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