
Directing
Ximena Cuevas
Born
1963-01-01 (63)
Place of birth
Mexico City, Mexico
Known for
Directing
Credits
23 titles
Ximena Cuevas (born 1963) is a Mexican videomaker and performance artist. Her work often explores the possibilities of the relationship between the social aspect and gender issues in contemporary society.
Known for
8.5No synopsis available yet.
Víctimas del Pecado Neoliberal
1995
NRMexican Erotica is a collective reappropriation film that explores sex and eroticism from various artistic and aesthetic points of view. A journey of textures, sensations and unmissable pleasures.
Mexican Erotica
2022
NRNo synopsis available yet.
A la Manera de W. Disney
1992
8.0Ximena Cuevas books herself onto the tabloid talk show Tómbola, toying at first with whimsical deconstruction until she turns the whole affair on its head by seizing the televisual flow itself.
Tómbola
2001
An homage to Luis Bunuel's The Criminal Life of Archibaldo de la Cruz with a twist to these days control systems of security. From the moment we are suspects we are potential culprits. Therefore we are all guilty.
Ensayo de un Crimen
2005
NRNo synopsis available yet.
Las tres muertes de Lupe
—
Behind the camera
8.5No synopsis available yet.
Víctimas del Pecado Neoliberal
1995
NRMexican Erotica is a collective reappropriation film that explores sex and eroticism from various artistic and aesthetic points of view. A journey of textures, sensations and unmissable pleasures.
Mexican Erotica
2022
NRNo synopsis available yet.
A la Manera de W. Disney
1992
8.0Ximena Cuevas books herself onto the tabloid talk show Tómbola, toying at first with whimsical deconstruction until she turns the whole affair on its head by seizing the televisual flow itself.
Tómbola
2001
An homage to Luis Bunuel's The Criminal Life of Archibaldo de la Cruz with a twist to these days control systems of security. From the moment we are suspects we are potential culprits. Therefore we are all guilty.
Ensayo de un Crimen
2005
NRNo synopsis available yet.
Las tres muertes de Lupe
—
NR"Perhaps Cuevas' most chilling work, Cinepolis forecasts an image-driven invasion of everyday life, picture-perfect and unnoticed. This alien intrusion comes in the form of a fully branded consumerscape that cheerily foists fast food along with the fantasy. Irreverent and biting, Cuevas fights back with the only weapon available--images of the enemy, and the enemy’s images." --Steve Seid, Pacific Film Archive, 2004
Cinepolis, the Film Capital
2003
NRNo synopsis available yet.
Destino
—
8.0The palms of Lana Turner's hands were full of scars; the technique she used in order to achieve melodrama was to tighten her fists, digging her fingernails into them until she began to cry. Day after day, soap opera actresses smear Vick's Vaporub into their eyes in order to cry. The effect of these false tears are the tears of the public. In Devil in the Flesh we see the camera's tricks, and even so the action seems dramatic. This piece once again exemplifies my fascination with the artificial: the fabricated emotions; the Christian looking for pain in order to live out Passion; the discomfort of the everyday melodrama; the emptiness that defeats everything
Diablo en la Piel
1998
NRDorothy doesn't reach her dream of the Emerald City. Rather, she will have already been over the rainbow by the time she arrives at the worst corner in Kansas.
Kansas Avenue
1999
NRBlind man: “It is bad to be alone.” The Creature: “Alone, bad.” —The Bride of Frankenstein It can be so bad to be alone that even an artificial heat is better than none.
Staying Alive
2001
NRThe discomfort stems from being oneself. The clips included here explore who we are and who we imagine ourselves to be. They are experiments in appearances, examining the use of artifice to enhance life or conceal it. It is a reflection on moral dislocation, hypocrisy, autonomous dreams, self-hatred, and self-destruction—the act of repeatedly killing our dreams.
Dormimundo
2000
NRNo synopsis available yet.
SOMEONE BEHIND THE DOOR
—
8.0A video poem about the nature of social relations and mass media, Half Lies exposes the seemingly innocuous ways we distort truth. Harmonious families, trade treaties, and current events are among the mediated realities that Cuevas interrogates. Half Lies makes the viewer question the half truths we encounter daily. The video walks the haunting gray area between documentary and drama, creating a world that is both shockingly grotesque and startingly authentic. Using mass-mediated images, animation, image manipulation, and fantasy, Medias Mentiras interprets the chaotic landscape of politics, urban chaos and everyday existence.
Half-Lies
1996
NRThe innocence of creating a mirror, only to repeatedly crush it underfoot.
Soulmates
1999
7.0Short experimental horror documentary on media racism
Natural Instincts
1999
La Puerta makes us spin out of control in the long and cruel corridors of an institutional nightmare.
The Door
2000
NRNo synopsis available yet.
Cama
—
An upper class wedding in Mexico City where the guests fantasize about the exotic faraway dreamscape that is their “Hawai”.
Hawai
1999
NRNo synopsis available yet.
We’re Here to Serve You
1999
A short by Ximena Cuevas
Parrot's Saliva
1994
After working in solitude at the studio, the artist leaves, uncomfortable with the idea of having to put on a face for the art world, where they expect you to say something articulate in order to grab the curator's attention. - Video Data Bank
Contemporary Artist
1999
8.0Mixing samba, sex, and lovers' lies, this beautiful short is a visual meditation on sexuality, loss, jealousy, and intimacy.
Cuerpos de papel
1997
