Private Project

DRIVER'S LICENSE

A young woman goes out for a drive to clear her mind on a sleepless night. The high speed causes her to be stopped by a traffic officer. Upon being informed that her license has expired, the woman grabs a gun from the glove compartment and shoots the officer. Paranoid with regret, she decides to disguise herself as a man to avoid being captured.

  • José J. Martínez
    Director
  • José J. Martínez
    Producer
  • José J. Martínez
    Writer
  • Project Title (Original Language):
    LICENCIA DE CONDUCCIÓN
  • Project Type:
    Animation, Short, Student
  • Runtime:
    9 minutes 14 seconds
  • Completion Date:
    June 13, 2024
  • Production Budget:
    10 USD
  • Country of Origin:
    Colombia
  • Country of Filming:
    Colombia
  • Language:
    Spanish
  • Shooting Format:
    Digicam
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    Yes
  • Student Project:
    Yes - Instituto Tecnológico Metropolitano - ITM
Director Biography - José J. Martínez

Also known as Romina Montero, José J. Martínez is a filmmaker and photographer from Medellín, Colombia; a student at the ITM's Film program and member of Angelis Novis Network from by the MCFF.

Working with lo-fi digital tools and gritty soundscapes, he embraces the raw aesthetics of early-2000s consumer cameras, where the machines and its imperfections become part of the final result.

His work prioritizes texture and experimentation over traditional narratives, exploring the accidental beauty of the unpolished.

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Director Statement

My practice revolves around exploring the intimate potential of the audiovisual form as a way of conversation with myself about my identity, ideas, doubts and discomforts. I see the moving image as a site of inquiry, where process takes precedence over product, and the act of creation unfolds as an open dialogue between artist and medium.

I’m drawn to films that resist easy consumption, works that unsettle, disorient, or refuse to comfort. My own practice leans into this tension, privileging raw encounters over polished resolution.

Guided by the principles "the what is the how" and "technology as an artistic collaborator rather than a tool", I embrace accidents, "mistakes" and emergent forms, treating each work as an evolving experiment rather than a fixed outcome.

My approach seeks to redefine the boundaries of cinematic experience, privileging sensation, ambiguity, and the generative possibilities of failure and lack of control.