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Felipe Esparza Pérez (b. 1985)

Birthplace:
Piura, Perú

Born:
July 11, 1985

Biography from TheMovieDB

Felipe Esparza’s work creates dynamic links and tensions between film, visual arts and video creation. In his projects there is an interest in social content coexisting with an exploration of themes such as nature, the sacred, non-verbal communication, its symbolic derivations, and the relationship between image and time, image and history, and image and truth. He approaches the complex representation of these themes by developing visual narratives in which the contemporary visual imagination cohabits with archives and with local and universal cultural codes, to the point of creating pieces of metalanguage. He is currently focusing on rituals, focusing on themes such as post-colonial remains around the sacred and the raw material with which cities are built as a sensitive archaeological gesture.  His videos and video installations have been shown in national art centers such as: MALI, Luis Miró Quesada, Lugar de la Memoria, Ministerio de Cultura (Lima), Festival de Lima Independiente, Festival Lima Alterna, and international ones such as: Rencontres Internationales Paris/Berlin - New Cinema and Contemporary Art, Guangzhou Image Triennial (China), Shangyuang Museum of Contemporary Art (Beijing), Videobrasil Festival (Sao Paulo), Cámara Municipal de Lisboa (Portugal), Los Angeles Film Forum, HANGAR Art Production Center (Madrid), Buenos Aires Video Art Festival, Rotterdam International Film Festival, Uppsala, Molodist, Curtocircuíto, among others.  Graduated from the Master of Mal de Foco at the Centro de la Imagen (Peru), Director at the Berlinale Talent Campus and selected artist at Le Fresnoy - Studio national des arts contemporains, France.

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Film Production

Director:
2016  Espacio sagrado
2018  Outside the Nut
2020  Borde
2020  Laguna negra
2021  Copyleft
2021  The Old Child
2021  Translucent repetition
2022  To cut a tree on a green moon
2023  Open-Pit
????  Copyleft

Director of Photography:
2016  Espacio sagrado
2018  Outside the Nut
2020  Borde
2020  Laguna negra
2021  Copyleft
2021  The Old Child
2021  Translucent repetition
2022  To cut a tree on a green moon
2023  Open-Pit
????  Copyleft
????  Moheda

Editor:
2016  Espacio sagrado
2018  Outside the Nut
2020  Borde
2020  Laguna negra
2021  Copyleft
2021  The Old Child
2021  Translucent repetition
2022  To cut a tree on a green moon
2023  Open-Pit
????  Copyleft
????  Moheda

Producer:
2016  Espacio sagrado
2018  Outside the Nut
2020  Borde
2020  Laguna negra
2021  Copyleft
2021  The Old Child
2021  Translucent repetition
2022  To cut a tree on a green moon
2023  Open-Pit
????  Copyleft
????  Moheda

Screenplay:
2016  Espacio sagrado
2018  Outside the Nut
2020  Borde
2020  Laguna negra
2021  Copyleft
2021  The Old Child
2021  Translucent repetition
2022  To cut a tree on a green moon
2023  Open-Pit
????  Copyleft
????  Moheda

Sound:
2016  Espacio sagrado
2018  Outside the Nut
2020  Borde
2020  Laguna negra
2021  Copyleft
2021  Landscape 01
2021  The Old Child
2021  Translucent repetition
2022  To cut a tree on a green moon
2023  Open-Pit
????  Copyleft
????  Moheda

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Most data and links to images for the Movies section come from TheMovieDB (TMDB).

Additional data for Film Titles come from The Open Movie Database (OMDb).

At least one plug-in comes from IMDb.

Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)

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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Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.