Laura Maria Isabel Ruiz Ocadiz (b. 1983)

Alias:
Babi Ruiz

Birthplace:
Estado de México

Born:
October 25, 1983

Laura Maria Isabel Ruiz Ocadiz was born in 1983 in Mexico City, in the cradle of a family of musicians. A fanatic of the seventh art, mexican melodrama and classical literature, she developed her abilities in different artistic disciplines from an early age, including Acting for Musical Comedies at the Artestudio academy. Years later, she graduated with a Bachelor of Psychology (her thesis in the "Incidency of Nervous Anorexia and Bulimia in a group of female ballet dancers" was selected by the Tepeyac University Degree Department as the best of 2007). Being a cinephile, she gained a certain popularity online as an amateur movie reviewer, years before the rise of modern social media. This was a milestone that led her to collaborate with the online magazine "F.I.L.M.E. Magazine", providing her cinematographic analysis of several works, and to be featured as a guest in National Polytechnic Institute Radio (Radio Instituto Politécnico Nacional). In 2010, she attained a scholarship from the General Society of Writers of Mexico (SOGEM), and upon finishing her studies in literature —while working as a member of the Neurological Center Research Department at the ABC Medical Center Hospital—, she contributed to the aforementioned insitution's scientific magazine "Medical Annual" (Anales Médicos) while looking for a creative outlet. It was then when, in 2014, CONACULTA (today the Ministry of Culture [Secretaría de Cultura]) selected her as the Art House and Auteur Film T.V. spot screenwriter for the Cinema 22 film block, at Channel 22 (Canal 22). Her artistic career naturally branched off into the making of the short films "The Git" (El Regalo, 2015) —made the same year she finished her Film Directing course, thaught by mexican filmmaker and actor Diego Luna—, "Nothing is what it seems" (Nada es lo que parece, 2016) and "Abyss" (Abismo, 2017), all of which she wrote and directed, ultimately getting them screened in several National Festivals; one of these shorts, particularly, on the screens of the National Cinematheque of Mexico (Cineteca Nacional De México). She decided to continue increasing her knowledge with a Master's Degree in Cinematography from Altrafílmica, which at the end she complemented —after being chosen for a scholarship by the editor, writer and director Juan Pablo Cortés ("Love Hurts" [Amar te duele, 2002]; "Luciana", 2010)— with the Film Editing course at the Center for Cinematographic Studies (CEC) in Mexico City. In 2018, she married actor and film editor Roberto Eduardo Arenas Farquet, and enjoyed a well-deserved break from cinema that led her to publish three literary fiction novels: "Amnesty", (Amnistía, 2018), "Steve's boater: Truth and life" (El canotier de Steve: La verdad y la vida", 2020), and "A wakefulness of indocility" (Un desvelo de indocilidad, 2021). She finally went back to filming on 2021, writing and directing the short films "Neither you nor I" (Ni tú ni yo), "Misplace the rabbits" (Extraviar los conejos), "We are a motive" (Somos un motivo), and "Love without a casket" (Amor sin féretro), all of them released on LuminosaCanal.com, her very own streaming channel. Maria is currently working on her debut full-length feature: the arthouse adaptation of her literary fiction novel "A wakefulness of indocility". Official Vero account: @mariaruizocadiz

Additional information:

The Search Form


About the Movie Section

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).

Regarding profile removals and data corrections:

  • If you would like your profile removed from this site, please contact the source of this data directly, TheMovieDB. My assumption is: once it's gone from their site, it should soon be gone from this site.
  • If you would like to correct movie data on this site, please contact the source of this data directly, TheMovieDB. My assumption is: once it's corrected on their site, it should soon be corrected on this site.
  • For additional corrections and profile removals, please e-mail The Open Movie Database (OMDb).

Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).

Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.

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.