{"id":19994,"date":"2026-10-17T12:00:42","date_gmt":"2026-10-17T18:00:42","guid":{"rendered":"https:\/\/miranda-partners.com\/news-and-content\/miranda-intelligence\/culture-chatter\/mexico-culture-chatter-oct-10-2026\/"},"modified":"2026-11-05T21:50:28","modified_gmt":"2026-11-06T03:50:28","slug":"mexico-culture-chatter-oct-10-2026","status":"publish","type":"post","link":"https:\/\/miranda-partners.com\/es\/news-and-content\/miranda-intelligence\/culture-chatter\/mexico-culture-chatter-oct-10-2026\/","title":{"rendered":"Mexico Culture Chatter, Oct. 10, 2026"},"content":{"rendered":"

Digger digs a hole at the box office<\/strong><\/h3>

Alejandro Gonz\u00e1lez I\u00f1\u00e1rritu\u2019s\u00a0Digger<\/em>, the celebrated Mexican director\u2019s first Hollywood studio film since\u00a0The Revenant<\/em>\u00a0(2015), has opened to dismal box-office returns despite Tom Cruise\u2019s star power. Reviews are swinging from \u201cEven Tom Cruise Can\u2019t Save This Strained Satire\u201d to \u201cThis Tom Cruise Masterpiece Will Stand the Test of Time\u201d.<\/p>

The film is a satire about climate change and corporate power starring Cruise as an unrepentant oilman. It took in an estimated US$8 million across more than 3,000 locations in its opening weekend, according to\u00a0El New York Times<\/em>, and audiences gave it a C grade on CinemaScore. Warner Bros. puts the budget at US$125 million, but others estimate it at US$150 million or more, partly because production stalled after John Goodman was injured in a fall on set. With nearly US$100 million more spent on marketing, the studio could lose between US$125 million and US$150 million, making\u00a0Digger<\/em>\u00a0one of the year\u2019s biggest box-office flops.<\/p>

\"\"
Cruise and I\u00f1\u00e1rritu on the set of Digger. (Photo: Tom Cruise\/IG)<\/figcaption><\/figure>

Digger<\/em>\u00a0was the last film Warner Bros. released as a standalone studio before its acquisition by Paramount closed on 6 October, capping a year in which none of its releases has passed US$100 million at the box office. A film consultant quoted by\u00a0El New York Times<\/em>\u00a0noted that Paramount has little recent history of big auteur-driven films, and\u00a0The Hollywood Reporter<\/em>\u00a0suggests it may be a long time before Hollywood places another nine-figure bet of this kind.<\/p>

I\u00f1\u00e1rritu, 63, says he conceived the film while shooting\u00a0The Revenant<\/em>, when his crew found that the ice they needed had vanished from locations where that had never happened before. He developed it with Mexican playwright, screenwriter and journalist Sabina Berman. She told AP she had wanted to write about climate change after noticing its toll on people, and found in I\u00f1\u00e1rritu the ideal accomplice. The pair began writing in Los Angeles almost a decade ago, and later sailed through the Arctic with cinematographer Emmanuel \u201cChivo\u201d Lubezki to see the colossal icebergs for themselves. Berman, who is also one of the film\u2019s producers, says her theatre background made it clear early on that the characters would talk endlessly, using words to control the narrative while the world collapses around them.<\/p>

I\u00f1\u00e1rritu told\u00a0El New York Times<\/em>\u00a0the project collapsed three times, costing him three years of his life. As climate events overtook the script, he said, the process came to feel \u201calmost like writing a documentary about the future\u201d. He acknowledges the film is polarising, but says he prefers that to a lukewarm reception.<\/p>

Critics in the Spanish-speaking world are also divided. In\u00a0El Pa\u00eds<\/em>, veteran Spanish critic Carlos Boyero called\u00a0Digger<\/em>\u00a0the most pretentious, hysterical and foolish film of the year. In Mexico, Ivana Lamas of\u00a0La Cr\u00f3nica de Hoy<\/em>\u00a0admitted dozing off for ten minutes, adding that\u00a0Digger<\/em>\u00a0had the courtesy not to move on much while she slept. The Mexican outlet Grupo Animal was more sympathetic, noting that the film debuted at 51 per cent on Rotten Tomatoes, the lowest score of I\u00f1\u00e1rritu\u2019s career on the site but considered whether US critics struggle to accept a satire of their country, their president and their elite, especially one made by a Mexican.<\/p>

The mixed reception has also prompted a show of solidarity from I\u00f1\u00e1rritu\u2019s fellow Mexican directors. Guillermo del Toro called an IGN post advising audiences to wait for the streaming release \u201centirely petty\u201d, and praised the film\u2019s ambition. Alfonso Cuar\u00f3n posted early critical pans of films later regarded as classics, among them\u00a0Blade Runner<\/em>\u00a0y\u00a0The Shining<\/em>.<\/p>

The \u201cThree Amigos\u201d have been each other\u2019s critics and unofficial editors for nearly 30 years. Cuar\u00f3n and del Toro met in Mexican television in the late 1980s; I\u00f1\u00e1rritu, who came from radio and advertising, met Cuar\u00f3n in the mid-1990s. Del Toro famously told I\u00f1\u00e1rritu that\u00a0Amores Perros<\/em>\u00a0(2000) was a masterpiece but too long. The trio formed Cha Cha Cha Films in 2007, with a production deal at Universal. Between 2014 and 2019 they won the Academy Award for best director five times in six years: Cuar\u00f3n and I\u00f1\u00e1rritu twice each, del Toro once.<\/p>

En el camino<\/strong><\/em> sweeps the 68th Ariel Awards<\/strong><\/h3>

David Pablos\u2019s\u00a0En el camino<\/em>\u00a0was the big winner at the 68th Ariel Awards, Mexico\u2019s highest film honours, taking six prizes including Best Picture from 13 nominations. The ceremony, organised by the Academia Mexicana de Artes y Ciencias Cinematogr\u00e1ficas (AMACC) which marked its 80ava<\/sup>\u00a0anniversary this year, returned to Mexico City\u2019s Estudios Churubusco after three editions in Jalisco. Already selected as Mexico\u2019s entry for the 2027 Oscars, the film follows Veneno, a young man who survives by seducing truck drivers at roadside diners, as he enters the hypermasculine world of northern Mexico\u2019s highways alongside a trucker called Mu\u00f1eco.<\/p>

\"\"
Mexican film-maker David Pablos (right) poses with the award for best film for En el camino at the 68th Ariel Awards. (Photo: EFE\/S\u00e1shenka Guti\u00e9rrez)<\/figcaption><\/figure>

Pablos shared Best Director with Pablo P\u00e9rez Lombardini, whose\u00a0La reserva<\/em>\u00a0also won Best First Feature and Best Original Score.\u00a0En el camino<\/em>\u00a0swept the male acting categories: Osvaldo S\u00e1nchez won Best Actor for his role as the trucker, Mariano L\u00f3pez Sosa took Best Supporting Actor and V\u00edctor Miguel Prieto Simental won Best Breakthrough Performance. Ximena Amann\u2019s cinematography completed the film\u2019s haul.<\/p>

The surprise of the night was Jos\u00e9 Manuel Craviotto\u2019s rowdy\u00a0Autos, mota y rocanrol<\/em>, which dominated the craft categories with awards for production design, costume, make-up and sound, plus a shared prize for visual effects.<\/p>

Diana Sedano was named Best Actress for\u00a0Juana<\/em>, the directing debut of actor Daniel Gim\u00e9nez Cacho, and dedicated the award to investigative journalists. \u00c1ngeles Cruz won Best Supporting Actress for Rodrigo Garc\u00eda\u2019s\u00a0Las locuras<\/em>; for both actresses, it was a first Ariel.<\/p>

Gabriel Mascaro\u2019s\u00a0O \u00faltimo azul<\/em>\u00a0won for original screenplay and editing, while Jimena Montemayor Loyo took the adapted screenplay award for\u00a0Mujeres del alba<\/em>, based on the book by Carlos Montemayor.\u00a0Soy Frankelda<\/em>, by brothers Arturo and Rodolfo Ambriz Rend\u00f3n, won Best Animated Feature; Santiago Esteinou\u2019s\u00a0La libertad de Fierro<\/em>\u00a0won Best Documentary Feature; and Colombia\u2019s\u00a0Un poeta<\/em>, directed by Sim\u00f3n Mesa Soto, was named Best Ibero-American Film.<\/p>

Among the shorts,\u00a0Las voces del despe\u00f1adero<\/em>, a 23-minute black-and-white documentary about the cliff divers of La Quebrada in Acapulco, won Best Documentary Short. The award makes co-director V\u00edctor Rej\u00f3n Cruz the first filmmaker from Yucat\u00e1n to win an Ariel as director; he shares the credit with Irving Serrano. The film had already won prizes at the Guadalajara and Morelia film festivals.<\/p>

The federal Culture Ministry released a statement noting that 29 of the 49 nominated films had received public funding through programmes such as FOCINE and the EFICINE tax incentive, and that ten won 22 awards between them. Culture Secretary Claudia Curiel de Icaza said the role of public institutions was to create the conditions for more stories to be made and to reach audiences.<\/p>

France takes centre stage in Guanajuato<\/strong><\/h3>

The 54th Festival Internacional Cervantino opened in Guanajuato on 3 October and runs until 18 October, with France as guest of honour to mark 200 years of diplomatic relations with Mexico. According to the state government, 3,325 artists from 29 countries and 20 Mexican states are taking part, 1,400 of them from Guanajuato.<\/p>

\"\"
Opening night of the Cervantino in Guanajuato on 3 October. (Photo: Libia Dennise\/X)<\/figcaption><\/figure>

American singer and songwriter Mike Patton opened the festival with Mondo Cane at the Alh\u00f3ndiga de Granaditas, leading a 25-piece ensemble through 90 minutes of reimagined Italian pop from the 1950s and 1960s. After the crowd spent much of the night calling for Juan Gabriel, Patton obliged with \u2018Hasta que te conoc\u00ed\u2019, backed by Mariachi Gama 1000.<\/p>

France has brought theatre, dance, circus, electronic music and co-productions with Mexican artists. Rachid Ouramdane\u2019s\u00a0V\u00e9rtigo<\/em>\u00a0set the tone on opening day with aerial acrobatics over the city\u2019s streets, performed by the Chaillot company alongside local performers.<\/p>

The visual arts programme comprises 49 exhibitions in 35 venues across eight municipalities, plus 35 independent spaces. In Le\u00f3n, the Museo de Arte e Historia de Guanajuato hosts the French group show\u00a0En busca de lo imposible<\/em>\u00a0y\u00a0La importancia del dibujo<\/em>, the first retrospective of architect Bernardo G\u00f3mez-Pimienta. In the city of Guanajuato,\u00a0Puntos suspendidos en el espacio<\/em>\u00a0at the Museo Palacio de los Poderes arranges some 50 pan-American prints from the 1970s and 1980s, by artists including Carlos Cruz-Diez and Juan Soriano, as an astronaut\u2019s logbook of imaginary planets. The Buscadoras Guanajuato collective presents\u00a0Retazos de vida<\/em>, using embroidery as resistance against forgetting, at the Museo de Arte Olga Costa-Jos\u00e9 Ch\u00e1vez Morado.<\/p>

Other highlights include\u00a0Tosca<\/em>\u00a0from the Compa\u00f1\u00eda Nacional de \u00d3pera, Grupo Niche, the Compa\u00f1\u00eda Antonio Gades, tenor Arturo Chac\u00f3n\u2019s tribute to Jos\u00e9 Alfredo Jim\u00e9nez and a 30th-anniversary staging of Sabina Berman\u2019s\u00a0Entre Pancho Villa y una mujer desnuda<\/em>.<\/p>

The Circuito Cervantino takes programming to 16 other states, while community strands include Proyecto Ruelas in Salamanca and Le\u00f3n,\u00a0M\u00e1s all\u00e1 del honor<\/em>, made with people in the state prison system, and\u00a0Identidad viva<\/em>, bringing 15 municipalities to the Plazuela de San Roque.<\/p>

Bigger numbers, tighter budgets: Culture at the two-year mark<\/strong><\/h3>

Mexico\u2019s federal Culture Ministry held 520,000 activities across all 32 states in the first two years of the Sheinbaum administration, a 32 per cent increase in its cultural offering, reaching 50 million people, a 13 per cent rise in attendance. Culture Secretary Claudia Curiel de Icaza presented the results at the president\u2019s morning press conference on 2 October.<\/p>

The headline figure was an investment of 1.85 billion pesos in public arts schools run by INAH, INBAL, the Centro de Capacitaci\u00f3n Cinematogr\u00e1fica (CCC) and the Orquesta Escuela Carlos Ch\u00e1vez, which Curiel described as unprecedented in 40 years (the president\u2019s annual report puts the plan at 1.5 billion pesos, a discrepancy Proceso noted has not been explained). The ministry renovated 2,352 spaces and abolished enrolment fees.<\/p>

The CCC\u2019s enrolment has risen 250 per cent since it moved to the Escuelas de Artes y Oficios in Chapultepec, where INBAL\u2019s Arsenal opened with 3,800 students, and the Orquesta Escuela Carlos Ch\u00e1vez has its own premises for the first time in 37 years.<\/p>

Grants and incentives for artists rose 45 per cent, from 1.84 billion to 2.658 billion pesos, through 250 open calls reaching more than 180,000 artists. However, the annual report\u2019s statistical annexes paint a less expansive picture: Proceso found that the Sistema de Apoyos a la Creaci\u00f3n y Proyectos Culturales (formerly FONCA) awarded 1,473 grants, less than half the 3,092 reported a year earlier.<\/p>

In the past two years, 5,686 archaeological, historical and ethnographic items have been repatriated in collaboration with the Foreign Ministry, bringing the total since 2018 to some 17,000, which the ministry says is ten times the figure under previous governments.<\/p>

More than 2,600 ministry employees, among the lowest paid in public administration according to Curiel, received a 17 per cent pay rise following union protests earlier in the year, though some 8,000 workers hired as contractors are not covered.<\/p>

The sector is pressing for more. On 28 September the Asamblea de Artes, a coalition of 16 arts organisations and unions, called under the slogan \u201cNo more cuts to the cut\u201d for the 2027 culture budget to rise at least in line with inflation, to a minimum of 15.5 billion pesos. The draft budget\u2019s 15.86 billion pesos already clears that bar, but its other demand, redirecting spending from large projects and administration towards direct support for artists and communities, cuts against a draft in which INAH and INBAL face real-terms falls while the ministry\u2019s administrative unit would grow more than thirtyfold. The coalition also claims 97.9 per cent of the culture budget is concentrated in Mexico City.<\/p>

Juan Villoro wins the Carlos Fuentes Prize<\/strong><\/h3>

Juan Villoro has been awarded the 2026 Premio Internacional Carlos Fuentes a la Creaci\u00f3n Literaria en el Idioma Espa\u00f1ol, given by Mexico\u2019s federal Culture Ministry and UNAM. The jury, which included last year\u2019s winner Gioconda Belli, praised the breadth of writing that spans several genres with mastery and rigour, and his influence on essay-writing and journalism across Spanish-speaking America.<\/p>

The news reached Villoro in Barcelona, his father\u2019s birthplace, just after his 70th birthday; he told\u00a0Milenio<\/em>\u00a0he took it as an unexpected birthday present. He was born two years before\u00a0La regi\u00f3n m\u00e1s transparente<\/em>\u00a0made Mexico City the protagonist of Mexican fiction, and he describes an implicit dialogue with Fuentes running through his own writing about the capital, including\u00a0El v\u00e9rtigo horizontal<\/em>.<\/p>

In an interview with\u00a0El Pa\u00eds<\/em>, Villoro confessed a particular fondness for children\u2019s literature, since most of the readers who connect with his work are 13 or younger. He recalled discovering his vocation at 15 through Jos\u00e9 Agust\u00edn\u2019s\u00a0De perfil<\/em>, and handing his first novel (which Carlos Monsiv\u00e1is had judged dreadful) to a passing rubbish lorry. He also warned that artificial intelligence flattens knowledge, which makes reading a form of first aid for independent thought.<\/p>

Meanwhile, Villoro\u2019s\u00a0No fue penal<\/em>\u00a0(Almad\u00eda, 2023) has reached the stage at Foro Lucerna in Colonia Ju\u00e1rez, adapted by the author and directed by Antonio Castro. Mart\u00edn Altomaro and Jos\u00e9 Mar\u00eda de Tavira play a hot-headed coach and a former teammate turned VAR referee. Both men\u2019s careers were ended by a training-ground collision, inspired by Mexican midfielder Alberto Onofre\u2019s real-life fracture before the 1970 World Cup.<\/p>

The Penacho enters Austrian politics<\/strong><\/h3>

G\u00fcnther Fehlinger-Jahn, an Austrian economist and political activist, has pledged that if he wins Austria\u2019s federal presidency in 2028 he will return the Penacho de Moctezuma to Mexico. The headdress, made of quetzal and other feathers set with gold, has been in Austria since the late sixteenth century and anchors the Weltmuseum Wien\u2019s Mesoamerican collection. Mexican presidents including AMLO have sought its return without success.<\/p>

\"\"
Fehlinger-Jahn posted a photo of himself with the artifact on social media. (Photo: Gunther Fehlinger-Jahn\/X)<\/figcaption><\/figure>

Fehlinger-Jahn made the promise on X, then posted that he would work with Mexican authorities, museums and specialists on a responsible return. Neither post sets a timetable or authorised procedure. In a 23 September interview with\u00a0Publimetro M\u00e9xico<\/em>, he proposed permanent restitution and offered to deliver it personally.<\/p>

Fehlinger-Jahn\u2019s background is in consultancy on economic reform, small business policy and European integration, including as secretary general of SME Union, an association linked to the European People\u2019s Party. He leads the Austrian Committee for NATO Enlargement, which campaigns for Austria to abandon its constitutional neutrality; according to Milenio, a NATO spokesperson said he has no official ties to the alliance.<\/p>

The pledge belongs to a broader agenda casting Mexico as a bridge between North America and Europe. His EU50 project envisages a 50-member European Union including Mexico, though he acknowledges EU treaties restrict membership to European states and calls the plan a political vision requiring a new legal framework.<\/p>

Practical obstacles remain: a binational study from 2010 to 2012 documented damage to the feathers and supporting netting, and Austria\u2019s foreign ministry published findings that the headdress was unfit for air transport. Fehlinger-Jahn maintains a technical solution exists but has presented no supporting study. The Weltmuseum notes the link to Moctezuma II is unconfirmed: the earliest written record is a 1596 inventory of Archduke Ferdinand of Tyrol\u2019s collection at Ambras Castle, Innsbruck.<\/p>

Fehlinger-Jahn\u2019s candidacy is not officially confirmed, though his social media accounts affirm his plans to run in 2028.<\/p>

Culture Chatter Box<\/strong><\/h3>
\"\"
Yolanda Andrade,\u00a0El ni\u00f1o y el infierno<\/em>, 1985. Foto: Francisco Kochen \/ MUAC.<\/figcaption><\/figure>

MUAC puts its collection on permanent show.<\/strong>\u00a0Almost 18 years after opening, the Museo Universitario Arte Contempor\u00e1neo (MUAC) has given its collection a permanent home. Since 3 October, galleries 4, 5 and 6 have been dedicated to the holdings, which have grown from 980 works in 2008 to around 2,300. The first exhibition in the new cycle,\u00a0Historias en construcci\u00f3n: Arte contempor\u00e1neo en M\u00e9xico desde 1952. Colecci\u00f3n MUAC<\/em>, curated by Pilar Garc\u00eda and Elva Peniche, brings together some 120 works and 60 documents by 72 artists. It traces the collecting lines set by founding curator Olivier Debroise. These run from Diego Rivera\u2019s drawings for the Estadio Ol\u00edmpico and H\u00e9ctor Garc\u00eda\u2019s photographs of Ciudad Universitaria under construction to work by Graciela Iturbide and once-risky early acquisitions of artists such as I\u00f1aki Bonillas and Melanie Smith. The show runs until 21 March 2027 at Insurgentes Sur 3000, in the Centro Cultural Universitario.<\/p>

Tepito demands the return of its murals.\u00a0<\/strong>Activists, artists and residents of Tepito have formed a common front to press the Cuauht\u00e9moc borough to restore\u00a0Los Ni\u00f1os<\/em>, a mural erased from the Plan Tepito housing complex. They also want the return of other artworks on the complex\u2019s walls, which were painted white under the previous borough administration. Mexico City\u2019s Human Rights Commission found in September 2024 that the erasures violated residents\u2019 right to culture, and the borough accepted its recommendation that October. Its nine points include a public apology and a new mural project designed in consultation with the community, due within a year. Two years on, the commission\u2019s website lists only two points as fulfilled. The front includes art critic Alberto H\u00edjar and Salom\u00f3n, son of Daniel Manrique, who supervised the mural\u2019s creation. It is gathering signatures to deliver to the president, the head of government and the borough.<\/p>

Sheinbaum\u2019s seamstress: \u201cempowered\u201d by the president, but low-profile.<\/strong>\u00a0President Claudia Sheinbaum\u2019s wardrobe is in the spotlight again, this time thanks to her seamstress. In a\u00a0profile<\/a>\u00a0en\u00a0El Pa\u00eds<\/em>, Olivia Trujillo, 64, explains how the story began with an anonymous commission in 2022. She only learned it was for Sheinbaum, then the mayor of Mexico City, when she spotted one of her suits on television. Since then, her work has appeared at the opening and close of Sheinbaum\u2019s campaign, her 2023 wedding to Jes\u00fas Mar\u00eda Tarriba and her swearing-in on 1 October 2024. Sheinbaum\u2019s team sends photographs, colours or embroidery ideas, and Trujillo often reworks garments the president has already worn. The connection has a downside, however: Trujillo says it has cost her clients, though she insists she has no party affiliation and keeps a low profile. \u201cMy thing is making clothes,\u201d she says.<\/p>

Witches on the Water in Xochimilco.\u00a0<\/strong>Sobrenatural: Ritos siniestros de las brujas de Xochimilco<\/em>, the immersive Day of the Dead show that has become a seasonal fixture, returns for its 14th edition from 23 October to 7 November. Audiences board traditional trajinera boats at the Embarcadero Salitre for a night-time journey along the canals to a chinampa, where the play unfolds. The whole experience lasts around three hours, half of it on the water. Writer-director Jos\u00e9 Luis Huerta\u2019s script follows Clementina, a woman accused of witchcraft, and draws on research in the Archivo General de la Naci\u00f3n, oral tradition and pre-Hispanic figures such as Cihuac\u00f3atl and Mictlantecuhtli. The final show, on 7 November at 8pm, marks the production\u2019s 500th performance.<\/p>

A taste of Gaza in Condesa.<\/strong>\u00a0Mexico City\u2019s omnivorous food scene keeps absorbing new cuisines, including that of a small group of Palestinians from Gaza. Mohammed Abed, a 36-year-old systems engineer who lost his four-year-old daughter in an Israeli air strike in 2025, came to Mexico with 17 family members seeking asylum. They followed his father, Kamal, who settled in the country more than a decade ago. On Tuesday mornings Abed loads a motorised tricycle with hummus, baba ganoush, falafel, shawarma and kebab for an open-air market in Condesa. His younger brother Fadi, 29, sells Palestinian food at a market in Escand\u00f3n. Fadi has built an Instagram following of 48,000, posting in heavily accented Spanish. According to Reuters, the family are among roughly 160 Palestinians in Mexico, a population that has doubled since 2022.<\/p>

Otis comes to the big screen.\u00a0<\/strong>When Hurricane Otis struck Acapulco in October 2023, sailors Marlon Valdez and Jonathan Chino were aboard the boats they had been sent to watch over, and lived to tell the tale. Their story, first reported by\u00a0El Pa\u00eds<\/em>\u00a0days after the disaster, inspired Jorge Michel Grau\u2019s\u00a0Contra el hurac\u00e1n<\/em>\u00a0(Surviving Hurricane Otis<\/em>). The film opens in Mexican cinemas on 15 October and reaches Netflix on 23 October, almost on the storm\u2019s anniversary. Some 800 people worked on it over three years, 500 of them on visual effects, and a water tank and three eight-tonne boats were built at the Churubusco studios. The real sailors advised on the production and make a cameo; neither has returned to sea. Michel Grau also tackles the practice of sending workers to guard mostly insured boats as storms approach. Twenty-four sailors remain missing to this day.<\/p>

Culture Outing<\/strong><\/h3>
\"\"<\/figure>

Festival Internacional del Libro del Z\u00f3calo 2026<\/a><\/strong><\/p>

The 26th Feria Internacional del Libro del Z\u00f3calo opened on 9 October and runs through 18 October in Mexico City\u2019s Z\u00f3calo. Entry is free and stands open daily from 11am to 9pm. This year\u2019s edition gathers 353 publishers and 266 activities and, according to the city\u2019s culture secretary, focuses on the themes of fundamentalism and neo-fascism. Highlights include a talk by Gustavo Petro, Julieta Venegas presenting her memoir and Giovanni Porzio\u2019s war photography exhibition. Last year\u2019s fair drew more than 1.3 million visitors.<\/p>

Culture Conversation<\/strong><\/h3>

La creatividad como estilo de vida y business plan: To\u00f1o Vilches en Productistas<\/a><\/strong><\/p>

In the second episode of\u00a0Productistas<\/em>, a freshly launched podcast about Mexico\u2019s creative industries, hosts Avelino Rodr\u00edguez and Ilana Sod talk with To\u00f1o Vilches, co-founder of Archipi\u00e9lago, the ecosystem behind projects like Mezcal Uni\u00f3n, Cancino, Tr\u00f3pico and the ACME art fair. To\u00f1o explains how the group built a lifestyle before a business plan, and why putting the consumer at the center draws in the rest of the industry. He also looks at what comes next after 17 years: deciding which projects to let go, and closing the gap between those who create Mexican brands and those who can scale them.<\/p>","protected":false},"excerpt":{"rendered":"

Alejandro Gonz\u00e1lez I\u00f1\u00e1rritu\u2019s\u00a0Digger, the celebrated Mexican director\u2019s first Hollywood studio film since\u00a0The Revenant\u00a0(2015), has opened to dismal box-office<\/p>","protected":false},"author":35,"featured_media":19995,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"content-type":"","footnotes":""},"categories":[82],"tags":[],"class_list":["post-19994","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture-chatter"],"_links":{"self":[{"href":"https:\/\/miranda-partners.com\/es\/wp-json\/wp\/v2\/posts\/19994","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/miranda-partners.com\/es\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/miranda-partners.com\/es\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/miranda-partners.com\/es\/wp-json\/wp\/v2\/users\/35"}],"replies":[{"embeddable":true,"href":"https:\/\/miranda-partners.com\/es\/wp-json\/wp\/v2\/comments?post=19994"}],"version-history":[{"count":1,"href":"https:\/\/miranda-partners.com\/es\/wp-json\/wp\/v2\/posts\/19994\/revisions"}],"predecessor-version":[{"id":20002,"href":"https:\/\/miranda-partners.com\/es\/wp-json\/wp\/v2\/posts\/19994\/revisions\/20002"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/miranda-partners.com\/es\/wp-json\/wp\/v2\/media\/19995"}],"wp:attachment":[{"href":"https:\/\/miranda-partners.com\/es\/wp-json\/wp\/v2\/media?parent=19994"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/miranda-partners.com\/es\/wp-json\/wp\/v2\/categories?post=19994"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/miranda-partners.com\/es\/wp-json\/wp\/v2\/tags?post=19994"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}