The battle of the pots
Stories of social resistance of great women of the town of Tepoztlán before mega projects like a scenic train, cable car, golf club, a career extension among others.
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Itandehuy Castañeda DemesaDirectorDiretor
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Carolina Corral ParedesDirectorDirector
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Itandehuy Castañeda DemesaWriterWriter
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Carolina Corral ParedesWriterWriter
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Itandehuy Castañeda DemesaProducerProducer
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Carolina Corral ParedesProducerProducer
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Osbelia QuirozKey Castinterviewed
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KaritinaKey Castinterviewed
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Doña LolitaKey Castinterviewed
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Project Title (Original Language):La Batalla de las Cacerolas
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Project Type:Documentary
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Runtime:10 minutes 23 seconds
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Completion Date:April 5, 2017
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Production Budget:300 USD
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Country of Origin:Mexico
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Country of Filming:Mexico
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Language:Spanish
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Shooting Format:Digital
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Aspect Ratio:16:9
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Film Color:Color
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First-time Filmmaker:Yes
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Student Project:No
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EcoFilm FestivalMexico city
Mexico
October 19, 2016
Museo Soumaya
Third place for best documentary -
Donam'CineBarcelona
Spain
March 3, 2017
Zumzeig cinema
Jury prize for best documentary
Distribution Information
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Diferents mediasCountry: MexicoRights: Internet
Itandehuy Castañeda Demesa
Formed in the area of visual arts, her areas of creative development are photography, digital video and installations. When I entered the workplace I had my first contact with journalism and cinema, in both of them I found a way of being able to express in images what others could not, so I set about the task of researching, studying and getting involved with the audiovisual media , Which gave rise to some cinema minutes and two years ago the documentary La Batalla de las Cacerolas, made as a tribute to those women who have been fighting mega projects all their lives in Tepoztlán, Morelos, Mexico.
He is currently studying for a master's degree in Brazil since he has started a collaborative work of documentation of some indigenous peoples of that country.
Carolina Corral
I grew up with a sensitivity to unjust situations, and with discomforts triggered by situations that disempowered and humiliated the women around me, later I learned that it was called machismo.
Later I went to school for several years studying social anthropology, which allowed me to delve into critical readings that formed me, but at some point the rigid institutionalization of the academy limited my creativity and seemed to perpetuate authoritarian patterns.
In the street and with my groups I learned the use of audiovisual tools.
Today, I believe that I am an accountant of stories sensitive to people, through audiovisual devices independently and collectively