an enigmatic night cashier at an ordinary OXXO on the edge of the city turns every shift into an extraordinary life
Our line
of work
Every card carries its revision stock — the coloured paper a production draft is printed on — so you can see how many passes a script has had before you open it. Ask, and the PDF comes back the same day with a treatment.
to force a country to take mental health seriously, two lifelong friends stage the suicide of one of them
in Monterrey, a charming nobody defends his title as king of procrastination against family, fate and the occasional bird-man
Production drafts are printed on coloured paper in a fixed order — white, blue, pink, yellow, green, goldenrod — so a crew can tell at a glance how many times a script has been rewritten. This portfolio keeps the sequence. A card on goldenrod has been through five revisions and is a different proposition from one still on white, and no portfolio site tells you that.
Cinema as cultural journalism
Compelling stories emerge not from extraordinary people, but from ordinary people placed under extraordinary emotional circumstances. I write at the intersection of identity, morality and memory — treating film less as entertainment than as cultural journalism, documenting the rituals and contradictions of contemporary Mexico in an international cinematic language.
El Amor Pinta Color OXXO — recognised at the Monterrey Film Festival as a short, now written as a series.
Founding companies, directing national creative initiatives, publishing novels and leading multidisciplinary teams — including The Best Coffee Shops — Mexico, a nationwide benchmark for the country's specialty coffee industry.
One ask across the whole slate: production and collaboration. Scripts come back the same day, with a treatment and no exclusivity attached.
Read something of mine
25 finished screenplays, all available. Tell me which one and it arrives the same day with a one-page treatment. No fee, no exclusivity, no waiting list.
Ciudad de México
