Ximena Cuevas

Seventeen-year-old Carlos doesn't fit in anywhere, not in his family nor with the friends he has chosen in school. But everything changes when he is invited to a mythical nightclub where he discovers the underground LGBTQ nightlife scene: punk, sexual liberty and drugs.

디스코가 인기를 끌던 그 시절 멕시코에는 다른 곳에서 볼 수 없는 밤의 스타들이 있었다. 멕시코 벌레스크 쇼를 이끌었던 여왕들을 이 다큐멘터리에서 새롭게 조명한다.

"Perhaps Cuevas' most chilling work, Cinepolis forecasts an image-driven invasion of everyday life, picture-perfect and unnoticed. This alien intrusion comes in the form of a fully branded consumerscape that cheerily foists fast food along with the fantasy. Irreverent and biting, Cuevas fights back with the only weapon available--images of the enemy, and the enemy’s images." --Steve Seid, Pacific Film Archive, 2004

Blind man: “It is bad to be alone.” The Creature: “Alone, bad.” —The Bride of Frankenstein It can be so bad to be alone that even an artificial heat is better than none.

Take back the airwaves: Mexico’s video art doyenne Ximena Cuevas books herself onto the tabloid talk show Tombola, toying at first with whimsical deconstruction until she turns the whole affair on its head by seizing the televisual flow itself.

La Puerta makes us spin out of control in the long and cruel corridors of an institutional nightmare.

An upper class wedding in Mexico City where the guests fantasize about the exotic faraway dreamscape that is their “Hawai”.

After working in solitude at the studio, the artist leaves, uncomfortable with the idea of having to put on a face for the art world, where they expect you to say something articulate in order to grab the curator's attention. - Video Data Bank

After working in solitude at the studio, the artist leaves, uncomfortable with the idea of having to put on a face for the art world, where they expect you to say something articulate in order to grab the curator's attention. - Video Data Bank

Short experimental horror documentary on media racism

Short experimental horror documentary on media racism

Dorothy doesn't reach her dream of the Emerald City. Rather, she will have already been over the rainbow by the time she arrives at the worst corner in Kansas.

"La Nueva Jerusalem" is a small community of believers lead by Papá Basilio and Mamá Dorita. They're waiting for the second coming of Christ, so they've abandoned the world, searching for a new spiritual life. Mamá Dorita sees in young Tomasa the signals of the chosen one. The young girl will be the new leader in "La Nueva Jerusalem".

Through the montage of film fragments from the Mexican Golden Cinema, pain, violence, repressed sexuality and Mexicanness are explored. This production is part of a twelve-short film project entitled "Enredando Sombras".

The palms of Lana Turner's hands were full of scars; the technique she used in order to achieve melodrama was to tighten her fists, digging her fingernails into them until she began to cry. Day after day, soap opera actresses smear Vick's Vaporub into their eyes in order to cry. The effect of these false tears are the tears of the public. In Devil in the Flesh we see the camera's tricks, and even so the action seems dramatic. This piece once again exemplifies my fascination with the artificial: the fabricated emotions; the Christian looking for pain in order to live out Passion; the discomfort of the everyday melodrama; the emptiness that defeats everything

Mixing samba, sex, and lovers' lies, this beautiful short is a visual meditation on sexuality, loss, jealousy, and intimacy.

A video poem about the nature of social relations and mass media, Half Lies exposes the seemingly innocuous ways we distort truth. Harmonious families, trade treaties, and current events are among the mediated realities that Cuevas interrogates. Half Lies makes the viewer question the half truths we encounter daily. The video walks the haunting gray area between documentary and drama, creating a world that is both shockingly grotesque and startingly authentic. Using mass-mediated images, animation, image manipulation, and fantasy, Medias Mentiras interprets the chaotic landscape of politics, urban chaos and everyday existence.

A short by Ximena Cuevas

On October 2, 1968, a student uprising descends into violence after the Mexican government begins to use lethal force against the protesters.