Our cities are our stories, cinema helps us write them together.
CORTE POR FACHADA
QUERÉTARO, MÉXICO
Who are we? Lucas Hoops moves between philosophy and architecture, between the classroom and practice, between the drawing of a project and the curation of a cultural space. He first trained as a philosopher at Franklin & Marshall College and later as an architect at the University of Texas at Arlington. His professional path has unfolded across different territories in Latin America: from heritage preservation work in Salta, Argentina, to collaborations with Ambrosi Etchegaray in Mexico City on projects exploring materiality and landscape. Blanmi Núñez works at the intersection of documentary cinema and cultural management, tracing a path that connects university classrooms, screening rooms, and public spaces. She holds a degree in Industrial Design from ITESM Querétaro and a Master’s in Communication and Digital Culture from the Autonomous University of Querétaro. Her practice has focused on film programming, audience engagement, and cultural mediation. Her work has unfolded across diverse contexts: from the promotion of Mexican cinema and contemporary art at the Museum of the City of Querétaro, to coordinating programs at Ambulante, and later collaborating with international initiatives seeking to rethink the ways documentary cinema is exhibited, distributed, and activated for social impact. |
Production
Communication and programming
Digital artist, documentary filmmaker, and editor. She graduated with honors from the University of Guanajuato for her thesis, Academic Documentation and Foundations of the Documentary Short Film Toci, which briefly traces the history of cinema and documentary filmmaking while examining the methodology developed by the Kinoki group.
She works as a director, assistant, and editor at Producciones Clandestinas, which is currently distributing her latest short film, I Dream. Told through the collective testimony of survivors, the film sheds light on violence against children. Through an impact campaign, it seeks to strengthen the capacity of social actors to prevent and respond to violence and child sexual abuse by promoting good practices.
Audiovisual
Emmanuel II Guerrero Ramírez grew up in Oaxaca City, where he studied filmmaking and analog photography. Shortly afterward, he began volunteering in different departments at film exhibition projects in Mexico, including Expresión en Corto—now the Guanajuato International Film Festival (GIFF)—and the Mexico City International Contemporary Film Festival (FICCO).
He worked at the Mexican Film Institute (IMCINE) and, in recent years, has worked in film projection, technical production, and guest services at festivals including GIFF, the Morelia International Film Festival (FICM), Ambulante Documentary Film Festival, DOQUMENTA, Festival Cine de Barrio (FECIBA), Mórbido Film Fest, the Monterrey International Film Festival, Festival ALT*, Oaxaca: Cine para la Vida, and the Cine por la Diversidad film series.
He has also worked as an editor on Carlos Hagerman’s documentary El patio de mi casa (2015) and short film The Present (2017), both of which were included in FICM’s official selection. He has also collaborated on productions by Pirotecnia Films and the theatre company Lagartijas Tiradas al Sol.
In 2019, he and Nina Rodríguez Lima founded Compartimiento Cinematográfico, a film exhibition project that has received support from FOCINE’s Exhibition and Equipment programmes. Last year, they distributed the documentary Omar and Cedric: If This Ever Gets Weird in cinemas across Mexico.
Administration
Entertainment and Media Business Administrator with postgraduate training in Finance and experience in cultural event management and production. She currently works as Administration and Staff Coordinator at Mexico Street Photo Fest, where she oversees administrative processes, team coordination, operational logistics, and festival production.
She has also collaborated with Hay Festival and volunteered at festivals including FICG, Ambulante, and DOQUMENTA. Her profile combines strong organizational skills, collaborative leadership, and effective communication, along with experience in guest services and fast-paced working environments.
Editorial
Carlos Macías’s practice unfolds primarily across photography and cinema. In his recent projects, he explores the image and its material forms through archival work and image-making, seeking new ways of rewriting identity and memory.
He trained at Andy Goldstein’s School of Creative Photography and studied cinematography at SICA in Buenos Aires, Argentina. He later continued his specialization with Ana Casas Broda and Gerardo Montiel Klint at Hydra + Fotografía in Mexico, as well as through Romina Resuche’s seminar Archives and Activations in Buenos Aires.
His most notable projects include Copy of an Allusion, presented at the OFF Festival Arles and featured by Fisheye Magazine, as well as supported by a PECDA grant (2025); This Is How the Future Awaits Us, presented at Charta Photo Festival (2021); Reconstructing Babel, exhibited at the Tijuana International Photography Festival (2018); and Brazil 21, developed at Casa Porto (2016). His documentaries Between Mountains and Oasis were presented at the Gijón International Film Festival (2015) and the Morelia International Film Festival (2013), respectively.
As part of This Is How the Future Awaits Us, he published an artist’s book in a special edition of one hundred numbered copies. In 2016, he participated in the Latinta Mural residency at Casa Porto, Brazil. He is currently developing the photographic project The Garden Moves Its Leaves.
