Alejandro Díaz Castaño (Asturias, 1979) has directed the Gijón International Film Festival (FICX) since 2017, for which he had already worked as programmer in 2010 and 2011. He also served as Head of Programming at the Seville European Film Festival from 2012 to 2016. He is a member of FIPRESCI and has collaborated in magazines such as Caimán Cuadernos de Cine (formerly Cahiers du cinéma - Spain) or Rockdelux. He has participated in different collective volumes on audiovisuals and in 2015 he published his first solo book, Olvidos vergonzosos (Maclein & Parker Ed.). In 2016 he wrote and directed the short film Ihesa (The Escape), screened in San Sebastian, BAFICI, Uruguay or Malaga. In recent years he has been a jury member at festivals such as BAFICI, Edinburgh IFF, Vila do Conde, Crossing Europe Linz, Cinélatino Toulouse or Las Palmas, among others.
Filmmaker and artist born in 1976 in Argentina. He lives and works in Buenos Aires. He attended a degree in Arts at the Faculty of Philosophy and Letters (University of Buenos Aires).
He directed the feature films Camouflage (2022), Corporate Accountability (2020), Toponymy (2015), 17 Monumentos (2012), El Predio (2010), and the medium and short films Tabula Rasa (2013), 5-T-2 Ushuaia (2016), Las Aguas del Olvido (2013), Los Murales (2011) and 5 (cinco) (2008). He was awarded Special Jury Prize (Bafici 2022), Best Director (Bafici 2021), Special Jury Prize (Documenta 2020), Critic’s Award (FIDMarseille 2015), National Fund for the Arts (2018), Metropolitan Fund for the Arts (2008 and 2010).
His films have been screened in numerous international film festivals, such as: Berlinale, Viennale, Rotterdam, IDFA, Art of the Real, FIDMarseille, Cinéma du Réel, Sheffield, Ji.hlava, IndieLisboa, Ficunam, Yamagata, Bafici, DokuFest, Documenta, La Havana, Porto/Post/Doc, Biarritz, Underdox, Reencontres Internationales.
His works have been exhibited at Palais de Tokio (Paris), Haus der Kulturen der Welt (Berlín), Museum of the Moving Image (New York), Arsenal Institut für Film und Videokunst (Berlin), IMS Instituto Moreira Salles (São Paulo, Río de Janeiro), Museum of Modern Art (Buenos Aires).
Vadim Rizov is director of editorial operations at Filmmaker Magazine, a U.S.-based quarterly print and daily online film publication. His work has been published in Sight & Sound, MUBI, Reverse Shot and The Village Voice, among others. He lives in Brooklyn.
Graham Swon is an American producer, screenwriter and director. As a producer, he has worked with with various independent filmmakers, including Matias Piñeiro and Ted Fendt. In 2016, he was named one of Filmmaker Magazine's "25 New Faces of Independent Film". Swon's work as a producer has screened internationally at festivals such as Berlinale, Locarno, TIFF, Directors' Fortnight and NYFF. In 2023 he won the Independent Spirit John Cassavetes Award for his production of Ricky D'Ambrose's "The Cathedral." "An Evening Song (for three voices)" is his second film as screenwriter and director.
Deragh Campbell is a Toronto based actor and filmmaker. Her performance credits include lead roles in Family Portrait (Lucy Kerr, 2023), An Evening Song (Graham Swon, 2023), A Woman Escapes (Blake Williams, Sofia Bohdanowicz & Burak Cevic, 2022) & Anne at 13,000ft (Kazik Radwanski, 2019), the later of which garnered her a Canadian Screen Award nomination for Best Actress. She starred-in, co-wrote and co-directed MS Slavic 7 which premiered at the 2019 Berlinale Forum. She was selected for TIFF's Rising Stars program (2015), the New York Film Festival Artist’s Academy (2018) and, in 2019, was given the TFCA’s Jay Scott Prize for emerging film talent.
Doris Bauer is co-director of the international short film festival VIENNA SHORTS. She studied political science at the University of Vienna and works as a cultural manager and curator. Until 2014 she was director of the open-air cinema espressofilm, which she co-founded, and managing director of the DVD rental Filmgalerie 81⁄2. In 2012, she co-founded the interest group Association of Austrian Film Festivals, as whose spokesperson she acted until early 2018. Most recently, she was involved in the development of THIS IS SHORT, a European streaming platform for short films.
David Castañón Medina is a graduate of the National School of Cinematographic Arts and the Faculty of Arts and Design (UNAM). His cinematographic search has been directed towards non-fiction, focusing on the processes of memory and its particular lack of certainty in the reliable reconstruction of lived experiences.
After the premiere in 2020, his debut documentary No son Horas de Olvidar (NoTime to Forget) achieved national and international relevance, obtaining various recognitions, in the same way that happened to his short documentary films: Días Distintos (Different Days/ 2011) and La Quemada (The Burned/ 2022). In 2023, with the distribution of Mandarina Cine, No Time to Forget obtained its commercial premiere in various theaters in the country, including the National Cinematheque at Mexico City.
Since 2015 he has been related to education teaching content on Documentary Language, Cinematography and Filmmaking. He works as a director, editor and director of photography in documentaries, fiction projects, commercials and video clips.
Alejandra Acosta Chávez is a visual artist based in Mexico City. She founded the design studio EEMR, who for 9 years has specialized in graphic design and branding in the independent film world. She is also founder and co-director of La Ola Cine, an independent film distributor with Cineteca Nacional as its ally. There she has distributed films such as Angela Shanelec's The Dreamed Path, Bi Gan's Kali Blues among others.
Alejandra has produced some films which have been selected for MoMA's New Directors / New Films, Indielisboa among others. She was also host of the popular radio show Antes de que nos olviden on Reactor 105.7 Fm. Her passion for music is also explored with her underground bands, Hermanas and Meelt. With a humanistic gestalt approach, she has specialized for more than three years in individual and group therapy, she is also part of a specialized group of therapists: Psychoexistential Alejandra currently teaches film and semiotics at the Universidad de la Comunicación in Mexico City and in her free time she enjoys meditating and walking with her dog Yolanda.
Filmmaker, researcher, and curator of documentary cinema. She holds a Master's degree in Art History with a focus on film studies from UNAM. Her work explores documentary cinema, collaborative practices, pedagogical curation, and various forms of social impact through art. Her documentaries have been screened at multiple international film and contemporary art festivals in various countries. She has taught at universities such as the Universidad Iberoamericana and the Universidad Autónoma de Baja California, and has conducted workshops on documentary filmmaking, programming, and cultural mediation at various institutions and festivals in Mexico and other countries. She was the founder and programming director of BorDocs Foro Documental from 2003-2013 and has served as an evaluator and juror in various competitions and artistic programs of IMCINE and various festivals. In 2021, she was a producer of the editorial project 'Redescubriendo el Archivo Etnográfico Audiovisual,' coordinated by Antonio Zirión (UAM-Elefanta), which has received several awards. In this book, she authored the chapter titled 'El giro pedagógico en el cine etnográfico: Dominique Jonard y la animación colaborativa.' Since 2022, she has been the Director of Programming at Ambulante in Mexico.
Manuel Trujillo, or Morris, is a cultural manager, film programmer, audiovisual artist, and film performer. He is the co-founder of the Trinchera Ensemble and the Laboratorio Experimental de Cine (LEC) in Mexico City. These projects work between film and other contemporary arts such as performance, installation, object art and conceptual art.
His audiovisual pieces have been shown at festivals and museums in several countries, including the Museo de Bellas Artes in Santiago de Chile, the Sammlung Essl in Vienna, Austria, Mono no Aware in New York City, and the Centro Cultural de España in Mexico, the ExTeresa Arte Actual, and the Museo Tamayo in Mexico City. He has received support from the BBVA Bancomer Cultural Foundation, IMCINE, CONACULTA, AC/E Acción Cultural Española, among others. He programmed the festivals such as ANIMASIVO in Mexico, Oberhausen in Germany, Festival de Cine Radical in Bolivia, Festival Internacional de Cinema Experimental Dobra in Brazil, the S8 Mostra de Cine Periférico in Spain, VideoEx in Zurich, Switzerland, and Corriente, Encuentro Latinoamericano de No Ficción in Arequipa, Peru. He currently programs the space Cine Más Allá within the Center of Digital Culture (CCD) in Mexico City.
From 2016 to 2019, he was the first director of Faro Aragón, a space promoting collaborative filmmaking through the training, production and exhibition of community cinema. Since then, he has worked with the Community Culture program of the Ministry of Culture of the Government of Mexico and Technical Liaison of the Presidency of the Ibero-American Intergovernmental Cooperation Program, IberCultura Viva. Since 2019, he has also been an advisor to the Faro Quintana Roo project, a community-based audiovisual project in Cancun, Mexico.
Morris is part of the Ibero-American network of Empathic Pedagogies. He completed the postgraduate course on Community-Based Public Policies as part of FLACSO-Argentina. He has taught creative laboratories, courses and workshops on film and community in different places: the postgraduate program of the Centro Universitario de Estudios Cinematográficos and the Unidad de Vinculación Artística (UVA), both at UNAM; in the Universidad Autónoma de la Ciudad de México (UACM), the community project Casa Gallina, Fundación Alumnos 47, the Centro Cultural de España in Mexico, the Latin American Audiovisual Camp, Transfrontera, in Arica, Chile and in Tijuana, Mexico, the Foundation for Contemporary Art in Montevideo, Uruguay, the Laboratorio de arte y latitud rural Silo, in Rio de Janeiro, Brazil and in other community projects on audiovisual culture in Latin America. He was an invited guest at the Flaherty Seminar in Mexico in 2016.
Jorge Javier Negrete (Mexico City, 1989) Clinical Psychologist. He is currently studying Social Anthropology. Co-founder of the Butaca Ancha page, co-editor of the printed magazine El cine probablemente and the book "Espectáculo a diario" which accompanied the Mexican Popular Cinema Retrospective at the Locarno Film Festival en 2023. Co-host of the Deretinas program on Radio UNAM. Collaborator in various print and digital media. Video essayist.
At first glance, her work carries aesthetic and pleasure claims, right up to a tenuous range of sensations. However, its presentation is performative - soaked with temporality - and its purpose, conceptual. The work revolves around a quest to locate and isolate concepts built around tangible elements, to then create abstractions that regenerate their image and position their force within a new context. Virtual spaces rise and with them propositions for change. Her practice ponders on presence; greatly inspired by the simplicity of certain formations, the economic and exponential nature of proposals, the power of hosting bodies and the playful air of philosophical reverberations.
Laborde just finalized her first feature The Backbone of Loss; as well as, attended Atelier 105 - Post production residency with experimental documentary of Havana, Fiñe. As a result she is now distributed and archived by Light Cone (founded in 1982). Her solo show, El duelo de una espina dorsal, curated by José Esparza Chong Cuy, Director and Chief Curator at Storefront for Art and Architecture took place at Luis Barragán’s J17 as a PEANA Off-site exhibition on February 2022.