Natalia López Gallardo: Last News

John Hopewell Chief International Correspondent Eight of the 10 directors in the Morelia Festival’s main Mexican competition are women, led by two of the biggest Mexican fest hits of the year,“Robe of Gems,” Natalia López Gallardo’s Berlin Special Jury laureate, and “Huesera,” from Michelle Garza Cervera, a double Tribeca winner. Features with Indigenous or Black Mexican protagonists have shot up in Mexico, from 14 in 2019 to 31 in 2019, according to Imcine’s Mexican Cinema Yearbook. In 2017, Mexico’s biggest homegrown hit was Nicolas López’s “Do It Like an Hombre,” a merciless taunt of a Mexican macho’s helpless homophobia, which grossed $11.0 million in the country. 

John Hopewell Chief International Correspondent Thanks in part to a strong co-production drive, 13 Mexican-nationality movies play at San Sebastian this year, a major presence.  Perlak frames Alejandro G. Iñarritu Venice player “Bardo: False Chronicle of a Handful of Truths.”  Much of the heat, in industry terms at least, will come from the the premieres and sneak peeks.   In one highlight, Natalia Beristáin will world premiere “Noise” (“Ruido”), before its Netflix November bow. In possibly another, Mexico’s Laura Pancarte (“Non-Western”) unveils “Sueño Mexicano” as a pic-in-post.

Jessica Kiang After 18 days of in-person screenings, over 370 movies and the allocation of a new prize fund totaling $210,000 AUD (approx. $145,000 USD) the Melbourne International Film Festival (MIFF) has to be one of the lengthiest, liveliest and now most lucrative film festivals in the world.

Holly Jones Bolivian-Mexican filmmaker Natalia López Gallardo enjoyed tandem careers in editing (“Jauja,” “Post Tenebras Lux”) and acting (“Nuestro Tiempo”), as she made her debut as auteur with the short film “En el cielo como en la tierra.” In her first feature-length project, “Robe of Gems,” she tackles the parallel individual struggles of three women against a backdrop of unrelenting cartel infiltration.What lured you into directing after careers in editing and acting? Was it a natural progression?Definitely, yes, it was there, but I think maybe it took time to accumulate the big necessity. I think it’s very important to have that need to do a film. It’s not a desire; it’s not an objective; you have to need it because that impulse that makes you start a film has to last maybe five years with the same power.