SHORT BIO
Film and commercial director and screenwriter, graduate of the Communication Sciences program at the University of Sonora. Winner of the international competition El principio del Film, awarded by Ventana Sur and Marché du Film at the Cannes Film Festival. He has received various accolades, including the Fiscal Incentive for Culture and the Arts from the Sonora Institute of Culture in the feature film development category for the project Aguamala, and the Mexican Institute of Cinematography’s Stimulus Program for Filmmakers in 2020 in the feature film writing category. In 2016, he won the Short Film Production Support competition from the Mexican Institute of Cinematography with the project 9:40. He is currently the director and screenwriter of Aguamala, a feature film set to be released in 2026.
FILMOGRAPHY
Los demonios de Anita (short, 2014), Naranjas (short, 2015), 9:40 (short, 2019), The Answer (short, 2024), Aguamala (feature film, 2025)
Was there a particular event or time that you recognized that filmmaking is your way of telling stories?
I grew up in the Sonoran Desert, and I don’t remember how, but one day a camera ended up in my hands. I remember walking through the countryside, framing shots and taking pictures, and later doing the same with a video camera. These first encounters with my surroundings through a lens sparked my interest in cinematography. When I studied screenwriting for the first time, everything clicked, and that was the moment I decided I wanted to do this for a living.
Do you think it is essential to go to a film institute in order to become a successful filmmaker?
I’m convinced that going to film school is not necessary. It can be useful because it provides you with a valuable network, but I don’t think it’s essential. The most important thing is to pay attention to the stories around us. Being observant and sensitive to your surroundings is invaluable for filmmaking.
Is it harder to get started or to keep going? What was the particular thing that you had to conquer to do either?
I currently live in Mexico City, which is a great place to grow as a filmmaker because it has all the necessary resources: equipment, studios, and skilled crews. But I’m originally from Sonora, where there isn’t really an industry, and developing there was very difficult. I had to learn to handle multiple roles due to the lack of personnel. That was a challenge, but also a great learning experience.
What was the most important lesson you had to learn that has had a positive effect on your film? How did that lesson happen?
The biggest lesson was being open to trying new things. I stepped out of my comfort zone by experimenting with tools and techniques I had never used before. I never imagined myself shooting a short film with an old phone.
What were the production realities from casting through editing that you had to accommodate? How did you navigate those compromises or surprises and still end up with a cohesive film?
The hardest part was being in charge of the entire process. It was tedious to shoot, check the footage, and reshoot—just like always, but with the added difficulty of having no one to give feedback or contribute ideas.
What was the hardest artistic choice you made in the making of a film, at any stage in production?
The hardest decision was choosing whether to do it alone or ask for help. I have friends who would have certainly helped me, but including them would have meant waiting longer to make it happen. So I decided to do it on my own, from start to finish, and treated it as a filmmaking exercise.
You are a collaborator. How have you discovered members of your team and how do you keep the relationship with them strong?
In this case, unlike other times, it was a solitary process, so unfortunately, I didn’t have the opportunity to collaborate.
What do audiences want? And is it the filmmaker’s role to worry about that?
Audiences are very diverse. I think filmmakers should care about the audience they want to reach, even if it’s not the mainstream public but rather a niche audience. But above all, they have to create something they personally enjoy, because the first viewer is always yourself.
What role have film festivals played in your life so far? Why are they necessary? How do you get the most out of them?
Film festivals are essential for a filmmaker’s growth. They provide spaces to connect with audiences and other creators. Even though free platforms like YouTube or TikTok exist, nothing replaces the real cinematic experience—sitting down and watching a film as a community. They also offer the opportunity to meet other filmmakers in person.
Niche festivals, such as Short to the Point, which focuses exclusively on short films, also have their value. They allow projects with unique approaches or less commercial formats to reach a specific audience and find their place in the industry.
Do you believe that a filmmaker should be original and fresh or he/she should stick to classic but safe cinema style?
We must be open to innovation. It was hard for me to accept because I was a purist for a long time. I hated shooting with a phone, vertical videos, and AI integration… and now I’m at a festival with a video made on a phone, in vertical format, and with AI. There will always be resistance to change. When we moved past silent films, black-and-white cinema, and more recently, shooting on film, those were all inevitable shifts. We have to adapt and find ways to use these tools ethically. I think we’ve reached a point of no return.
