To speak of Dami\u00e1n Alc\u00e1zar is to examine one of the most visible careers in Mexican cinema from the last few decades. His work has allowed him to portray a large variety of roles that encapsulate the tribulations of a country \u2014or even a continent. The Guanajuato International Film Festival pays a warm tribute to the brilliant career of a Mexican that has allowed us to see ourselves on the screen. Originally from Jiquilpan, Michoac\u00e1n, Dami\u00e1n Alc\u00e1zar would soon move with his family to Zapo – pan. That is where he first met cinema, which would mark his vital trajectory. In 1976 he entered the Bel – las Artes Institute to study Performing Arts. In 1980 he began studying theater at the University of Vera – cruz. One of his first experiences was to star in Jean Genet\u2019s El balc\u00f3n, directed by George Labaudan. This Premier actor has mentioned on several ocassions that his journey toward film acting start – ed with Gabriel Retes\u2019 La ciudad al desnudo. There he played La Suavecita, a member of an infernal Street gang that crosses paths with a couple\u2019s failed attempt at running away. He would then star in Ar – turo Ripstein\u2019s La mujer del puerto, where he played \u201cEl Marro\u201d, a sailor of delicate health whose lustful love of a prostitute is outlawed on all levels. The part of Marcelino in Lolo (1993) would earn him his first Ariel for Best Supporting Actor. In Ro – berto Sneider\u2019s Dos cr\u00edmenes (1994), Alc\u00e1zar played Marco, an architect who is accused of a crime he didn\u2019t commit. He is the actor who has won the largest number of Ariels, 5 for Best Actor and 3 for Best Supporting Actor. His filmography is made up of more than a hundred titles, between movies and television se – ries. Besides the already mentioned, we remember his performances in films such as Algunas nubes (1995), Bajo California: el l\u00edmite del tiempo (1998), Ave Mar\u00eda (1999), El Crimen del Padre Amaro (2002), Las vueltas del citrillo (2005), Fuera del cielo (2006), S\u00f3lo Dios sabe (2006) and De la infancia (2010). Besides his extensive filmography in Mexico, he\u2019s very in-demand internationally. In the Colom – bian film Satan\u00e1s (2007), for example, he plays a veteran driven insane by the Vietnam War who de – cides to take his misanthropy to the extremes. In the United States he participated in the fantasy epic The Chronicles of Narnia: Prince Caspian (2008), demon – strating that one need not be typecast to get work in that country. For some it may be hard to imagine that until recently it was nearly impossible to make a film in Mexico that criticized its political system. Doing just that, Luis Estrada\u2019s La Ley de Herodes became one of the most well-known comedies in Mexican cin – ema. Its difficult road to release fed the audience\u2019s curiosity. This would be the beginning of a fruitful partnership with this director with whom he made three more films: Un mundo maravilloso (2006), El infierno (2010) and La dictadura perfecta (2014). Each of them satirized problematic aspects of Mex – ican society and its relationship to power. He\u2019s had a constant presence in the m\u00e9dium of televisi\u00f3n. He played Tuco Salamanca in Met\u00e1stasis, the Colombian adaptation of the hit show Breaking Bad. Other highlights include Don Chalo in Sin senos no hay para\u00edso and Sr. Hull in 2091. He has recently gained international recognition for his work as Co – lombian drug dealer Gilberto Rodr\u00edguez Orejuela in the Netflix series Narcos. He also continues to make independent cinema in our country, such as a drama about a group of highway workers called La delgada l\u00ednea amarilla (2015), directed by Celso Garc\u00eda. His enormous sensibility allows him to perfect – ly embody a wide array of recognizable archetypes: the working man, the upstart, the corrupt politician, the drug dealer, the beggar, the gang member and the Middle-Class worker. His meticulous method in elaborating these characters indicates a passion for his work and, above all, a gift for acute observa – tion that allows him to capture the subtle edges of our reality in every character he plays. Constantly demonstrating his solid preparation as an actor and his strong presence, Dami\u00e1n Alc\u00e1zar is one of the most endearing faces of Mexican Cinema. He\u2019s al – ways committed to social causes; his career is an example that artistic quality can get along with an awareness of social issues. His stamp is plastered all over our collective memory and his work is the expression of a country that won\u2019t stop embracing its own dark sense of humor.<\/p>","protected":false},"excerpt":{"rendered":"
To speak of Dami\u00e1n Alc\u00e1zar is to examine one of the most visible careers in Mexican cinema from the last few decades. His work has allowed him to portray a large variety of roles that encapsulate the tribulations of a country \u2014or even a continent. The Guanajuato International Film Festival pays a warm tribute to […]<\/p>","protected":false},"author":4,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-19174","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/giff.mx\/en\/wp-json\/wp\/v2\/pages\/19174","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/giff.mx\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/giff.mx\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/giff.mx\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/giff.mx\/en\/wp-json\/wp\/v2\/comments?post=19174"}],"version-history":[{"count":2,"href":"https:\/\/giff.mx\/en\/wp-json\/wp\/v2\/pages\/19174\/revisions"}],"predecessor-version":[{"id":27618,"href":"https:\/\/giff.mx\/en\/wp-json\/wp\/v2\/pages\/19174\/revisions\/27618"}],"wp:attachment":[{"href":"https:\/\/giff.mx\/en\/wp-json\/wp\/v2\/media?parent=19174"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}