Glorimar Marrero Sánchez

Birthplace:
Barranquitas, Puerto Rico

Born in Barranquitas, Puerto Rico (1978) Marrero Sánchez is a filmmaker, screenwriter and interdisciplinary artist whose work is related to grief, identity, colonialism and gender. Her work includes film, photography and installation. La Pecera marks her Feature Film Directorial Debut. In 2017, she won the Best Screenplay Award in the Unpublished Screenplay Competition of the XXXIX Edition of the New Latin American Film Festival in Havana, Cuba. That same year, she premiered Revuelo en Roosevelt, a piece of video art commissioned by the Institute of Puerto Rican Culture and the National Endowment for the Arts. In 2018 she obtained a grant for the development of La Pecera, through the Latin American Fund of the Tribeca Film Institute, and won the First Prize of the European Audiovisual Entrepreneurs (EAVE) at the MAFIZ of the Malaga Film Festival. In 2019, she won the IBERMEDIA Program Co-Production Fund for the production of her first feature film La Pecera and premiered the documentary Juana (s) Matos, commissioned by the Museum of Contemporary Art of Puerto Rico. Glorimar has been an artist-in-residence at the University of Chicago, MASS MoCA, and the Latin American Studies Program at Princeton University. Her work has been presented in Puerto Rico, Cuba, Mexico, Guatemala, Colombia, the United States and Europe. She currently resides and works between San Juan, Puerto Rico, Madrid, Spain and Hyde Park, Chicago.

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While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:

  • I added "runners up" to Top 10 lists, treating them as ties where applicable and numbering them accordingly at the bottom of each list.
  • Regarding those polls wherein "franchise" movies were submitted as one project until BFI's policy changed to regard them separately, I treated them as ties and renumbered the affected lists accordingly (e.g. the Godfather films).

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