Alejandro García

参加作品

She Went Missing
Art Direction
When investigative reporter Maya learns that her childhood best friend has gone missing, she decides to cover the story herself. But just as her return to her hometown unearths memories and rekindles past relationships, it also brings a long dormant (and still totally unknown) stalker that she had years ago. As her investigation deepens, the danger strikes closer and closer to home. Will she uncover the truth about her friend’s disappearance? Or will Maya herself wind up being the next tragic news story?
7:19
Production Design
壊滅的な地震がメキシコシティを襲い、閉じ込められて行き場をなくした生存者達。個々の違いを超え、何とか救助が来るまで必死に生き延びようとする。
ノー・エスケープ 自由への国境
Production Design
メキシコとアメリカの国境地帯で、モイセス(ガエル・ガルシア・ベルナル)と仲間がアメリカに密入国しようと灼熱(しゃくねつ)の砂漠を歩き続けていた。突如何者かに次々と狙撃され、訳もわからぬまま逃げ惑う一行は銃撃だけでなく、摂氏50度の過酷な環境にも苦しめられる。水も武器も逃げ場もない絶望的な状況で、アメリカを目指す彼らの運命は……。
Mexican Gangster
Production Design
Tells the story of the most prominent bank robber in the history of Mexico, his crimes, his different personalities, his career as a charro with a mariachi band, his getaways and the strange relationship he had with the one who finally came to stop him. Based on the true story of Alfredo Ríos Galeana.
Sugar Kisses
Production Design
Nacho, a 13 year old boy, crosses the threshold of adolescence trying to find his place in life in all the wrong places: a dysfunctional family and a social setting that is corrupt and violent. Can the purity of first love survive the darkest aspects of our society?
We Are What We Are
Production Design
After the death of a patriarch, a family must try to continue on with a disturbing, ritualistic tradition.
Cobrador: In God We Trust
Assistant Art Director
Adaptation and unification in a single story of several stories by the writer Rubem Fonseca, where the theme of violence in contemporary society is explored.
バイオハザードIII
Assistant Set Decoration
事故から8年後、T-ウィルス汚染は食い止められず全世界へ蔓延してしまう。ウィルスに汚染された地球は文明社会が崩壊した。アンブレラ社は各地の巨大な地下施設に潜み、ウェスカーを筆頭に各支部と連携を取りながら現状の打開を模索する。アリスの血液から大量に複製した彼女のクローンを使い、アンデッドへの対抗手段や血清についての人体実験を繰り返していた。そんな中、わずかに生き残った人々は安住の地を求め、各地を旅していた。アリスは立ち寄ったガソリンスタンドでアラスカに安全な場所があると記されたノートを発見し希望を抱く。
More Than Anything in the World
Art Direction
The relationship between beautiful Emilia (Elizabeth Cervantes) and her imaginative young daughter, Alicia, is tested in this understated Mexican drama. Disoriented after moving to a new apartment and left to herself when her mother starts bringing men home, Alicia takes refuge in dreams that soon become nightmares, especially after she begins to fear that her mom has become possessed by the vampirish man next door. With a keen eye for the rhythms and struggles of contemporary Mexican family life, this film illuminates the secret worlds of lonely children while never straying from its true subject: the uncommon love between a single mother and her child.