Amidst crashing waves and monumental rocks on a distant coast, two young couples open up a realm of shifting realities. Unbeknownst to them, a mysterious entity watches from high above with Godlike judgment, balancing on the edge of the modern and the primitive, the corporeal and the mythic.
Biography
film director

Carlos Reygadas
(Mexico), one of the leading contemporary filmmakers, is also a producer and distributor through Mantarraya Productions, ND-Mantarraya, and the Escuela Superior de Cine. In the late 1990s, he made four short films in Belgium, and in 2002 he directed his first feature film, Japón, which was presented at the Directors’ Fortnight in Cannes and won the Caméra d’Or. In 2005, her film Batalla en el Cielo competed in the main competition at Cannes, as did her subsequent films Luz silenciosa - Stellet Licht (2007) and Post Tenebras Lux (2012), which won the Award for Best Director. In 2018, Nuestro Tiempo was presented in competition at the Venice Film Festival. In 2022, he published the essay Presence (AnDante). As a producer, he has worked with filmmakers such as Dea Kulumbegashvili, Natalia López, Paz Encina, and Hilal Baydarov.
FILMOGRAFIA
Adulte (cm, 1998), Prisonniers (cm, 1999), Oiseaux (cm, 1999), Max (cm, 1999), Japón (2002), Batalla en el Cielo (Battaglia nel cielo, 2005), Luz silenciosa - Stellet Licht (2007), 42 One Dream Rush (cm, 2009), Serenghetti (2009), Revolución (cm, 2010), Post Tenebras Lux (2012), Aficionados (cm, 2014), Nuestro Tiempo (2018), The Eye Machine (2021), Heil Jupiter! (2026).
Declaration
film director
“I wrote this film in 2020, but its wellspring can’t be clearly defined other than water seeping through the walls of the previous decade – and it continues to seep. I found myself constantly feeling and thinking about the beauty of the universe, humanity being part of this endless beauty… And then being engulfed with all the very stupid things we do, in our own orbits and all over the world. I felt the place where these two powers come across is an acute angle of sorrow. A sorrow that is, nonetheless, enveloped in light. The friction in this cutting angle seems to be producing streams of sparks. So you wonder, day by day, how can we be so particular in our sensitivity and yet so stupid in our actions, all at the same time?”


