Part-improvised and starring a cast of nonactors led by real-life punk Ana Hernandez (as Alma, which also means “soul”), ALMA PUNK traces the tortuous path of a young riot grrl from the Mexico City punk scene as she moves north to Tijuana and, eventually, towards the United States. It confidently breaks with the rules of staging docudrama with an unsparing look at Alma’s love life, unfakeable scene bohemianism and extensive location footage of Mexico before NAFTA and after the 1985 earthquake. “I feel like no one is supporting me,” Alma says. “Guys want everything and give nothing in return. Isn’t that so?” Like NADIE ES INOCENTE, this film uses the intimacy and flexibility of video (this time, 3/4″) to wring innovation in the editing room, this time to give Alma a similarly alienated and jittery headspace.

Part-improvised and starring a cast of nonactors led by real-life punk Ana Hernandez (as Alma, which also means “soul”), ALMA PUNK traces the tortuous path of a young riot grrl from the Mexico City punk scene as she moves north to Tijuana and, eventually, towards the United States. It confidently breaks with the rules of staging docudrama with an unsparing look at Alma’s love life, unfakeable scene bohemianism and extensive location footage of Mexico before NAFTA and after the 1985 earthquake. “I feel like no one is supporting me,” Alma says. “Guys want everything and give nothing in return. Isn’t that so?” Like NADIE ES INOCENTE, this film uses the intimacy and flexibility of video (this time, 3/4″) to wring innovation in the editing room, this time to give Alma a similarly alienated and jittery headspace.

Part-improvised and starring a cast of nonactors led by real-life punk Ana Hernandez (as Alma, which also means “soul”), ALMA PUNK traces the tortuous path of a young riot grrl from the Mexico City punk scene as she moves north to Tijuana and, eventually, towards the United States. It confidently breaks with the rules of staging docudrama with an unsparing look at Alma’s love life, unfakeable scene bohemianism and extensive location footage of Mexico before NAFTA and after the 1985 earthquake. “I feel like no one is supporting me,” Alma says. “Guys want everything and give nothing in return. Isn’t that so?” Like NADIE ES INOCENTE, this film uses the intimacy and flexibility of video (this time, 3/4″) to wring innovation in the editing room, this time to give Alma a similarly alienated and jittery headspace.

Part-improvised and starring a cast of nonactors led by real-life punk Ana Hernandez (as Alma, which also means “soul”), ALMA PUNK traces the tortuous path of a young riot grrl from the Mexico City punk scene as she moves north to Tijuana and, eventually, towards the United States. It confidently breaks with the rules of staging docudrama with an unsparing look at Alma’s love life, unfakeable scene bohemianism and extensive location footage of Mexico before NAFTA and after the 1985 earthquake. “I feel like no one is supporting me,” Alma says. “Guys want everything and give nothing in return. Isn’t that so?” Like NADIE ES INOCENTE, this film uses the intimacy and flexibility of video (this time, 3/4″) to wring innovation in the editing room, this time to give Alma a similarly alienated and jittery headspace.

In 1987, the film director and video artist Sarah Minter, made the documentary exercise Nobody is Innocent, a film that portrayed the daily life of the youth gang Los Mierdas Punk, from and residents of Ciudad Neza, State of Mexico. More than 20 years later, Minter returns to the streets where the tape was recorded to reconnect with the original members of the band, who today are around forty years old and still live in the same places.

In 1987, the film director and video artist Sarah Minter, made the documentary exercise Nobody is Innocent, a film that portrayed the daily life of the youth gang Los Mierdas Punk, from and residents of Ciudad Neza, State of Mexico. More than 20 years later, Minter returns to the streets where the tape was recorded to reconnect with the original members of the band, who today are around forty years old and still live in the same places.

In 1987, the film director and video artist Sarah Minter, made the documentary exercise Nobody is Innocent, a film that portrayed the daily life of the youth gang Los Mierdas Punk, from and residents of Ciudad Neza, State of Mexico. More than 20 years later, Minter returns to the streets where the tape was recorded to reconnect with the original members of the band, who today are around forty years old and still live in the same places.

A poetic dissection of the role of women in post-revolutionary Nicaraguan society.

In 1987, the film director and video artist Sarah Minter, made the documentary exercise Nobody is Innocent, a film that portrayed the daily life of the youth gang Los Mierdas Punk, from and residents of Ciudad Neza, State of Mexico. More than 20 years later, Minter returns to the streets where the tape was recorded to reconnect with the original members of the band, who today are around forty years old and still live in the same places.

In 1987, the film director and video artist Sarah Minter, made the documentary exercise Nobody is Innocent, a film that portrayed the daily life of the youth gang Los Mierdas Punk, from and residents of Ciudad Neza, State of Mexico. More than 20 years later, Minter returns to the streets where the tape was recorded to reconnect with the original members of the band, who today are around forty years old and still live in the same places.