Nacho and Julio ignore their feelings towards Marcela in order to unleash their most prosaic desires. The deeds of these two friends will have someone face desolation. But who?
Laura Maria Isabel Ruiz Ocadiz was born in 1983 in Mexico City, in the cradle of a family of musicians. A fanatic of the seventh art, Mexican melodrama and classical literature, she developed her abilities in different artistic disciplines from an early age, including acting for musical drama at the Artestudio academy. Years later, she graduated with a Bachelor of Psychology (her thesis "Incidency of Nervous Anorexia and Bulimia in a Group of Female Ballet Dancers" was selected by the Tepeyac University Degree Department as the best of 2007). Being a cinephile, she gained a certain popularity online thanks to her film critic blog, years before the rise of modern social media. This was a milestone that led her to collaborate with "F.I.L.M.E. Magazine", providing her cinematographic analysis of several works, and to be featured as a guest in the National Polytechnic Institute Radio (Radio Instituto Politécnico Nacional) show. In 2010, she attained a scholarship from the General Society of Writers of Mexico (SOGEM), and upon finishing her studies in literature —while working as a member of the Neurological Center Research Department at the ABC Medical Center Hospital—, she contributed to the aforementioned insitution's scientific magazine "Medical Annual" ("Anales Médicos") while looking for a creative outlet. It was then when, in 2014, CONACULTA (today the Ministry of Culture [Secretaría de Cultura]) selected her as the Art House and Auteur Film T.V. spot screenwriter for the Cinema 22 film block, at Channel 22 (Canal 22). Her artistic career naturally branched off into the making of the short films "The Gift" ("El Regalo", 2015) —made the same year she finished her Film Directing course, thaught by mexican filmmaker and actor Diego Luna—, "Nothing is what it seems" ("Nada es lo que parece", 2016) and "Abyss" ("Abismo", 2017), all of which she produced (after founding her first studio, Luminosa Films), wrote and directed, ultimately getting them screened in several National Festivals; one of these shorts, particularly, on the screens of the National Cinematheque of Mexico (Cineteca Nacional de México). She decided to continue refining her skills and increasing her cinematographic knowledge with a Master's Degree in Cinematography from Altrafílmica, which at the end she complemented —after being chosen for a scholarship by the Editor, Writer and Director Juan Pablo Cortés ("Love Hurts" ["Amar te duele", 2002]; "Luciana", 2010)— with the Film Editing course at the Center for Cinematographic Studies (CEC) in Mexico City. In 2018, she married actor and Film Editor Roberto Eduardo Arenas Farquet (with whom she founded Luminosa Publishing, in 2018, and her second arthouse film studio, Pertúrpure Cinema, in 2021) and enjoyed a well-deserved break from cinema that led her to publish three literary fiction novels: "Amnesty", ("Amnistía", 2018), "Steve's Canotier: Life and Truth" ("El canotier de Steve: La verdad y la vida", 2020), and "A Wakefulness of Indocility" ("Un desvelo de indocilidad", 2021). After this very productive hiatus, she came back to filming for good, writing and directing the 2021 released short films "Neither You Nor I" ("Ni tú ni yo"), "Misplace the Rabbits" ("Extraviar los conejos"), and "We Are a Motive" ("Somos un motivo"); and her 2022 silent short film "Love Without a Casket" ("Amor sin féretro"), showcased on her very own free streaming channel LuminosaCanal.com.
Maria currently resides somewhere in the beautiful and mysterious Mexico, where she enjoys conversations about literature and cinema with her husband; while tending to the endless demands of her two attention-freak cats.
Mountain Xpress 03.08.23 By Mountain Xpress
"To capture the most terrible sensations in the world is what has defined my chaotic way of thinking. A way that some have found beautiful".
(Traducción): "Captar las sensaciones más terribles del mundo es lo que ha definido mi pensamiento caótico. Pensamiento que a unos cuantos ha parecido bello".Amber, Matt and Sabina's plans to celebrate graduation are thwarted by the arrival of Amber's recently-signed rock star ex Gary and Amber's current squeeze Pete, who's semi-celebrating the publication of his first vampire novel. Add Sabina's hatred of everyone, Matt's crush on Gary's mysterious new girlfriend, Amber's gradual implosion and tons of alcohol, shake vigorously and place bets on whether they'll actually get out of the house. A Dogme-esque improvised comedy.
Miles Watts was born in 1974 and began as a child to make films in his hometown of Harrogate, England, in the 1980s. His first efforts were film parodies shot on Super 8 and Video 8 with friends.
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Miles began writing feature scripts in 2000, making his first script into no-budget feature 'The BandWagons' which screened in the local cinema in 2007. The director shot the micro-budget vigilante comedy 'CrimeFighters' in York in 2009: it was screened in 2010 at the Edinburgh International Film Festival and the Arizona Underground Film Festival, and around the UK in Picturehouse Cinemas.
During this time, Miles also co-developed the cult web series 'Zomblogalypse' and filmed his Dogme-style feature 'Amber' in his own house in 2012, finishing the film in 2013 while making the serial killer comedy 'Whoops!'
'Whoops!' was screened at the 2013 Raindance International Film Festival and around the UK with Vue Cinemas in the summer of 2014 as the standout British feature on Raindance's first national tour. The film received widespread acclaim and screened at the NXNE Festival in Toronto and the Nantes Film Festival, where it was nominated for the People's Choice and Jury Awards.
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Amber is one of those films I like to make between films: relatively simple, low budget but full of heart and soul. We shot it in my house over a week and improvised it all, and it turned out to be something of which I'm very proud and which I feel represents me as a filmmaker just as much - or perhaps more - as bigger budget movies I've made. My main influences for Amber were memories of being a teenager, improvised comedy such as Curb Your Enthusiasm and This Is Spinal Tap, dogme-esque films like Show Me Love and 80s movies like The Breakfast Club.
Amber is one of those films I like to make between films: relatively simple, low budget but full of heart and soul. We shot it in my house over a week and improvised it all, and it turned out to be something of which I'm very proud and which I feel represents me as a filmmaker just as much - or perhaps more - as bigger budget movies I've made. My main influences for Amber were memories of being a teenager, improvised comedy such as Curb Your Enthusiasm and This Is Spinal Tap, dogme-esque films like Show Me Love and 80s movies like The Breakfast Club.
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