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Natalia Almada in "Mexico City"

Natalia Almada, the great-granddaughter of Mexico’s controversial 40th president, Plutarco Elías Calles, makes intimate films that delve into the tragedies of her Mexican-American family’s personal history as well as the Sinaloa region’s violent present.

More information and credits


Executive Producer: Eve Moros Ortega. Host: Claire Danes. Director: Deborah Dickson. Producer: Ian Forster. Editor: Kate Taverna. Art21 Executive Director: Tina Kukielski. Curator: Wesley Miller. Director of Production: Nick Ravich. Structure Consultant: Véronique Bernard. Director of Photography: Pedro Gomez Millan & Hatuey Viveros. Additional Photography: Ulli Bonnekamp, Robert Humphreys, Masami Fujita, John Marton, Masiar Pasquali, & Pietro de Tilla. Assistant Camera: Paul Lima, Mauricio Rodríguez, & Bernabé Salinas. Sound: Baruch Arias Kexolli, Brian Copenhagen, & Theresa Radka. Production Assistant: René Hope, Antonio Pérez Sánchez, & Guglielmo Trupia. Driver: Ricardo Jacuinde Villeda & José Luis Loyo. Translation: Manuel Alcalá & Paulina Pardo Gaviria.

Title/Motion Design: Afternoon Inc. Composer: Joel Pickard. Online Editor: Don Wyllie. Re-Recording Mix: Tony Pipitone. Sound Edit: Neil Cedar & Jay Fisher. Artwork Animation: Anita H.M. Yu. Assistant Editor: Maria Habib, Leana Siochi, Christina Stiles, & Bahron Thomas.

Host Introduction | Creative Consultant: Tucker Gates. Director of Photography: Pete Konczal. Second Camera: Jon Cooper. Key Grip: Chris Wiesehahn. Gaffer: Jesse Newton. First Assistant Camera: Sara Boardman & Shane Duckworth. Sound: James Tate. Set Dresser: Jess Coles. Hair: Peter Butler. Makeup: Matin. Production Assistant: Agatha Lewandowski & Melanie McLean. Editor: Ilya Chaiken.

Artworks Courtesy of: Natalia Almada; Minerva Cuevas; Damián Ortega; Pedro Reyes; Altamura Films; American Documentary | POV; Colección Jumex; Icarus Films; El Instituto Nacional de Bellas Artes y Literatura; kurimanzutto; LABOR; Solomon R. Guggenheim Museum, New York. Presented at Museo Jumex; Women Make Movies; Carlos Aguirre; Kenneth Bostock; Claudia Fernández; Thomas Glassford; Paulina Lasa; Néstor Quiñones; Felice Varini; & Héctor Zamora. Acquired Photography: Animal Político; Hammer Museum; Kadist Art Foundation; Simplemente; Laureana Toledo; & VernissageTV.

Special Thanks: The Art21 Board of Trustees; Michael Aglion; Daniela Alatorre; Adriana Barraza; Betty Briceño; Cactus Films; Pat Casteel; Pamela Echeverría; Christina Faist; Carla Fernández; The Galleries at Moore; Héctor Galván; Alejandro Gonzalez Palafox; Lorenzo Hagerman; Hammer Museum; HangarBicocca; Headlands Center for the Arts; Alejandro de Icaza; Jenette Kahn; José Kuri; Andrea Leal Montemayor; Sheila Lynch; Alejandro Machorro; Gabriela Maldonado Miquelerena; Mónica Manzutto; Tony Moxham; Museo de la Ciudad de México; Proyecto Siqueiros – La Tallera; Mónica Reina; Olga Rodríguez; Carlos Rossini; Diana Salier; Keith Shapiro; Mary Ann Toman; & Steve Wylie.

Additional Art21 Staff: Maggie Albert; Lindsey Davis; Joe Fusaro; Jessica Hamlin; Jonathan Munar; Bruno Nouril; Pauline Noyes; Kerri Schlottman; & Diane Vivona.

Public Relations: Cultural Counsel. Station Relations: De Shields Associates, Inc. Legal Counsel: Albert Gottesman.

Dedicated To: Susan Sollins, Art21 Founder.

Major underwriting for Season 8 of Art in the Twenty-First Century is provided by National Endowment for the Arts, PBS, Lambent Foundation, Agnes Gund, The Andy Warhol Foundation for the Visual Arts, and The Anna-Maria and Stephen Kellen Foundation.

Closed captionsAvailable in English, German, Romanian, Italian, Japanese, Korean, Chinese, Italian

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Natalia Almada

The great-granddaughter of Mexico’s controversial 40th president Plutarco Elías Calles, Natalia Almada makes intimate films that delve into the tragedies of her Mexican-American family’s personal history as well as the Sinaloa region’s violent present. Ranging from documentary to fiction to experimental narrative, Almada’s films portray a world filtered through recollection and constructed by diverging points of view. Whether chronicling the daily lives of Mexican drug smugglers, immigrants, corrido musicians, or government bureaucrats, Almada’s camera acts a witness to lives ensnared by violence and power struggles.

“Often, the photographs would lead to the writing. So I would go out with my camera, and kind of see something, photograph something, then come home and insert my character into that moment; or that place, or that feeling that I had photographed.”

Natalia Almada

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Filmmaking and “Todo lo demás”

In this interview, Natalia Almada discusses her approach to filmmaking, and the inspiration for her first narrative feature film, Todo lo demás.

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