LEAD TO A CRITICALLY ENGAGED
No Ficción is an independent media company founded in 2017 by Daniela Alatorre, Elena Fortes, and Cinépolis. The company is devoted to producing non-fiction content for multiple platforms, with a particular emphasis on high profile, social issue documentaries for wide release. No Ficción also acts as a platform for discovering and supporting new talent, bringing projects to life, and providing mentorship and resources in order to help future storytellers enter the global arena. At the heart of No Ficción lies a strong commitment to innovation, creativity and emerging media technologies, as well as a firm belief in the power of the moving image to transform realities and engage communities for action.
In four years, No Ficción collaborated with the Chinese artist Ai Weiwei as associate producer in his documentary Vivos, produced an anthology of documentary shorts for Netflix (A Tale of Two Kitchens, directed by Trisha Ziff; A Three Minute Hug, directed by Everardo González; Birders, directed by Otilia Portillo; Lorena, Light Footed Woman, directed by Juan Carlos Rulfo; and After the Raid, directed by Rodrigo Reyes), an op-doc for the New York Times (Ruptured City, directed by Diego Rabasa and Santiago Arau), and the documentary feature Retreat, directed by Daniela Alatorre. No Ficción is also co-producer of the documentary feature films Midnight Family, directed by Luke Lorentzen, which was on the 92nd Oscars Shortlist Documentary Feature category, and Users, directed by Natalia Almada, which premiered in 2021 at Sundance Film Festival, where she won the Best Director award in the US Documentary category.
The most recent film of No Ficción, A Cop Movie (directed by Alonso Ruizpalacios), will premiere in 2021 at the Berlin International Film Festival, the Berlinale.
Among his award-winning productions are Lorena, Light Footed Woman (Ariel Award for the best documentary short film), Retiro (special mention from the jury at Morelia International Film Festival), and Midnight Family (Jury Award for Best Cinematography at Sundance Film Festival and more than 40 awards).
In 2017, Daniela founded No Ficción along with Elena Fortes and Cinépolis, an independent media company devoted to producing non-fiction content for multiple platforms, with an emphasis on high profile, social-issue driven documentaries for wide theatrical release. Her producer credits with No Ficción include a series of documentary shorts for Netflix produced between 2018 and 2019 (A Tale of Two Kitchens, directed by Trisha Ziff; A Three Minute Hug, directed by Everardo González; Birders directed by Otilia Portillo; Lorena, Light Footed Woman, directed by Juan Carlos Rulfo; and After the Raid, directed by Rodrigo Reyes), an op-doc for the New York Times Ruptured City (2018) directed by Diego Rabasa and Santiago Arau, and the feature documentaries Midnight Family (2019) directed by Luke Lorentzen, which premiered at the Sundance Film Festival where it obtained the jury award for best Cinematography in the US Documentary Competition, Vivos (2019, as associate producer) directed by Ai Weiwei, and Users (2021, as co-producer) directed by Natalia Almada.
She is part of the board of trustees of the Ambulante Film Festival in Mexico and was part of the Flaherty Film Seminar board in New York for 4 years. She has been an advisor of the Mexican Institute of Cinematography and PROIMAGENES Colombia, and juror of the Guadalajara International Film Festival, the Durango Film Festival, the Ambulante Documentary Post Production Grant, the Cinema Tropical Awards, the Palm Springs International Film Festival and Documenta Madrid. Daniela was one of the mentors of Docunexión program, a project of IMCINE, the British Council, Ambulante, DocsDF and Sheffield. She has been a fellow of the Sundance Editing, Music and Creative Producing Labs, and the Flaherty Film Seminar.
Daniela produced the Morelia International Film Festival and was the head of the Documentary Programming Committee for ten years. She is also the producer of El General (2009, directed by Natalia Almada), ¡De Panzazo! (2012, directed by Juan Carlos Rulfo and Carlos Loret de Mola), El Ingeniero (2012, directed by Alejandro Lubezki), and the NYT OpDocs Unsilenced (2016 directed by Betzabé García). She holds an MFA in Documentary Film from the School of Visual Arts in NY.
Retreat which received a special mention from the jury and the Ambulante Film Festival prize at the XVII Morelia International Film Festival is her first feature documentary as a director. She is also the co-director of Fragments, a short film about and done during the pandemic that had its premiere at the Morelia Film Festival in 2020.
Elena is an award winning creative producer, cultural strategist, and activist. She has been working in the documentary film industry for over 15 years. Between 2005 and 2016, Fortes served as the director of Ambulante, a non-profit organization which she co-founded with Gael García Bernal, Diego Luna, and Pablo Cruz, in order to support and promote a documentary film culture in Mexico. Ambulante’s multiple programs include Latin America’s largest touring documentary film festival, a long-term filmmaking training program for underserved communities in Mexico, and an editorial division. The organization has received prestigious awards and grants, including the Prince Claus Award (2019), and the WOLA Human Rights Award (2011), in recognition of its track record promoting documentaries as a tool for change, as well as numerous grants from Ford Foundation, W.K. Kellogg Foundation, MacArthur Foundation, Open Society Foundations, USAID, among others.
In 2017, Fortes co-founded, along with award-winning producer and Flaherty fellow Daniela Alatorre, and the support of Cinepolis (the second largest cinema exhibitor in the world), the Mexico City based production company No Ficción. With the company, she has produced 13 films in the past three years including Midnight Family (d. Luke Lorentzen), shortlisted for the 2020 Academy Awards, Vivos (d. Ai WeiWei), which premiered at the 2020 Sundance Film Festival, and most recently, A Cop Movie (d. Alonso Ruizpalacios), set to premiere in 2021.
Fortes has participated in juries and programming committees for various film festivals and organizations, including Sundance, Camerimage, CPH:DOX, Dokufest, Hot Docs, Lima International Film Festival, among others.
She is also an accomplished graphic designer and received her B.A. in Communication from the University of Pennsylvania.
Cinépolis is a Mexican company with the objective of creating a true value of fun, comfort and entertainment for its customers. Founded in Morelia in 1971, it’s the leader of the film and entertainment industry in Mexico and Latin America. Cinépolis is the fourth largest chain in the world, the second largest in ticket sales, the first in tickets sold per cinema room and the most important outside the United States, in addition, it is the largest VIP lounges operator in the world. With a total of 820 cinemas in 17 countries, Cinépolis operates 6,416 digital movie theaters and has more than 43,000 employees. Always at the forefront of technology in the film industry, Cinépolis introduced in Mexico the concept of stadium-type multiplex rooms, IMAX® screens in commercial rooms, VIP rooms, Junior® rooms, the Club Cinépolis® loyalty program, the CineCash® payment method and the reservation and purchase services of Cineticket® tickets, it is also the first chain in Latin America to implement the numbering of seats inside its rooms and is a pioneer in America by introducing 4DX technology to live the experience in fourth dimension, with seats with movement , aroma and effects of light and wind.
Abril holds a degree in International Relations from UNAM (National Autonomous University of Mexico), and a certificate in Film and Audiovisual Production from the Centro de Capacitación Cinematográfica (CCC Film School). She has collaborated with the Ingmar Bergman Seminar at UNAM, the production company Cinepantera, and the Morelia International Film Festival. She has contributed to numerous film projects as production assistant, including ¡De panzazo! (2012), directed by Juan Carlos Rulfo and Carlos Loret de Mola, and El ingeniero (2012), directed by Alejandro Lubezki. Abril also produced the short film Negro (2013), directed by Daniel Castro Zimbrón, Velvet (2018) by Paula Hopf, and the documentaries Margarita (2016) and Things We Dare Not Do (2019) by Bruno Santamaría.
She has a BA in Cultural Studies and Cultural Management by the Universidad del Claustro de Sor Juana, and has successfully accomplished the Course on Audiovisual Production from the Centro de Capacitación Cinematográfica. She has worked as Production Assistant on Ambulante Más Allá, Docs Forum and Agencia Bengala. Additionally she has produced the short films La Otra Noche (2019) and Contacto (2019). She is the coordinator of the Community Training program of IMCINE Polos Audiovisuales at the Estado de México and works as Production Assistant at No Ficción.
Journalist. He has worked in the media of Mexico, Spain and Guatemala. His reports have been published in Nexos magazine, Esquire México, Emeequis, Televisa and the newspapers Reforma and El Universal. He is co-author of the books 20 years for all women. A recount of the feminist movement in Mexico, and Oppressed or Empowered. Where are the Mexicans of the 21st century. Mario is a producer of the documentary Eternity Never Surrendered and co-writer and researcher of the film ¡De Panzazo! He has a Master degree in Journalism from the newspaper El Mundo (Spain) and a postgraduate degree in International Information from the Universidad Complutense de Madrid.
As a journalist, she spent the '00s writing primarily about the intersection of pop culture and politics for publications like the LA Weekly, Variety, and Salon. Her award-winning history of Northern California film, Cinema by the Bay, was published by Random House in 2006. She now works as a writer and story consultant on various fiction and documentary film projects, both in Mexico City and in the U.S. Past and present clients include Ambulante, Argos, Bravo Films, and of course, No Ficción.