Tonalli, 16 min, 2021
Tonalli is a shamanic composition in three parts: an atavistic preparation for a Flower War (Xochiyáoyotl); a solar-lunar ceremonial brazier (Tlecacitl) where Xolotl emerges in his turbulent opacity; finally, a solar irradiation (Tonalli) that manifests in the world as the flowing cosmic blood in which all beings are immersed. A Mesoamerican spell unleashed.
Alphabet / A, 7.5 min, 2013
A call for a political transformation, a life that emerges from the earth's own interior.
A call from the beginning, the ancestral water, the everlasting belly from where life cries out.
Eroded Pyramid, 9 min, 2019
The Pyramid used to be a mountain.
Shrines, 3.5 min, 2019
An audiovisual shrine composed of small temples that contain images of ancient deities.
Have You Seen?, 7 min, 2018
Mother’s Day in Mexico is considered one of the most important family holidays of the year. Thousands of mothers have nothing to celebrate. They are the mothers of victims of forced disappearances. Mothers and relatives of the disappeared participated in the March of National Dignity. Mothers searching for their sons, daughters, and justice.
Parallax, 5 min, 2018
On October 2, 1968, the people of Mexico staged a massive protest against the country’s bid to host the Olympic Games. The Mexican army responded by killing hundreds of students in the streets. Employing disruptive montage, Parallax combines images from this original protest in 1968 and those filmed on the 50th anniversary of the student massacre, held October 2, 2018. The film offers a critique of the cyclical nature of political tyranny, while attempting to develop a new audiovisual language that drifts between the political and the poetic.
Tear Gas, 1.5 min, 2019
The Politics of Breathing: tear gas.
Impressions for a Light and Time Machine, 7 min, 2014
In Impressions for a Light and Sound Machine, a woman raises her voice in anger to give a searing and endlessly painful speech. A speech that with time becomes overwhelming. Her words are permanent, heartbreaking impressions burned into Mexico's collective memory. These words physically pierce the body of a historical film and a collective consciousness, tearing at the celluloid until the material vanishes.
The Sun Quartet, Part 1: Sunstone, 8.5 min, 2017
The Sun Quartet is a solar composition in four movements, a political composition in four natural elements, an audiovisual composition in four bodily mutations: a sun stone where youth blooms in protest, a river overflowing the streets, the burning plain rising in the city, and, finally, the clamour of the people that shook Mexico after the night of September 26, 2014. The disappearance of 43 students from Ayotzinapa opened a breach in the Mexican political body.
The Sun Quartet, Part 2: San Juan River, 2017
The Sun Quartet is a solar composition in four movements, a political composition in four natural elements, an audiovisual composition in four bodily mutations: a sun stone where youth blooms in protest, a river overflowing the streets, the burning plain rising in the city, and, finally, the clamour of the people that shook Mexico after the night of September 26, 2014. The disappearance of 43 students from Ayotzinapa opened a breach in the Mexican political body.
Soldadera / Percusión Visual, 5.5 min, 2013
A woman of the Mexican Revolution. An armed militant who puts us in touch with the pulse of the field, a waterfall of colors and gaits, in the footsteps of a woman who vindicates her struggle that never ceases to exist.
