Mexico City, 1989. Emerging filmmaker with a Bachelor’s degree in Cinematography from the Escuela Superior de Cine.
He was a member of the Mezcal Award jury at the 34th Guadalajara International Film Festival. In 2019 he attended the Film Preservation & Restoration School in Mexico, run by the International Federation of Film Archives (FIAF) and the National Autonomous University of Mexico (UNAM). He did his social service at UNAM’s Filmoteca, where he later did an internship. There he learned about and participated in the film restoration workflow when he was commissioned to prepare the documentation for ‘El film sobre arte en México’ (Film on Art in Mexico), a project involving the restoration of nine short films shot on 16 mm and 35 mm by filmmakers trained at UNAM’s National School of Film Arts between 1960 and 1975. The films portray the creative process of some of Mexico’s leading visual artists, such as Frida Kahlo, David Alfaro Siqueiros and Rufino Tamayo. He was selected to participate in the 9th Film Restoration Summer School in 2002, which was held in Bologna and run by FIAF, ACE, Cineteca di Bologna and L’Immagine Ritrovata.
As an audiovisual producer he has held editing, photography and production roles, and has also been a sound technician for more than 20 short films and 1 full-length documentary. In 2023 he was selected for the Sound department at the Castello Errante Cinema Residence, organised by Occhi di Giove with the support of the Italian Ministry of Culture and Ibermedia.
He took various courses in experimental film and operation of analogue film cameras. He also worked at the independent film laboratory La Vena, dedicated to importing and developing Fomapan film material.
He is currently in the final post-production stage of his academic project ‘CAMERA OBSCURA’, an experimental short film that challenges the frontier between documentary and fiction by exploring the mix of images recorded with various media and found footage to reflect on the creative process and its potential in the face of the hegemony of film as a commodity product and the saturation of the contemporary image.
Last update of this profile: 2024
