Alamar (2009)

Director:Pedro Gonz Producer:Pedro González-Rubio, Jaime Romandia Screenplay by: Pedro González-Rubio alez-Rubio

Music by:Diego Benlliure  Cinematography:Pedro González-Rubio   Edited by:Pedro González-Rubio Running time:1h 13min 

Country:Mexico Language:Spanish, Italian Genre:Documentary, Drama   Subtitle:English  Starring:Jorge Machado ... Jorge,
Roberta Palombini ... Roberta
, Natan Machado Palombini ... Natan, Nestór Marín ... Matraca, Garza Silvestre ... Blanquita




ҧ:10 wins & 7 nominations.



Argentinean Film Critics Association Awards 2012

Silver Condor
Best Foreign Film, Spanish Language (Mejor Película Iberoamericana)
Pedro González-Rubio 

Ariel Awards, Mexico 2011

Silver Ariel
Best Sound (Mejor Sonido)
Rodolfo Romero 
Manuel Carranza 
Best First Work (Mejor Ópera Prima)
Pedro González-Rubio 
Best New Actor (Mejor Papel Incidental Masculino)
Natan Machado Palombini 

Buenos Aires International Festival of Independent Cinema 2010

Best Film
Pedro González-Rubio 
SIGNIS Award - Special Mention
Pedro González-Rubio 

Cartagena Film Festival 2010

Golden India Catalina
Best Film (Mejor Película)
Pedro González-Rubio 

Cine Ceará - National Cinema Festival 2010

Feature Film Trophy
Critics Award
Pedro González-Rubio 

Cinema Eye Honors Awards, US 2011

Heterodox Award
Pedro González-Rubio 

Lima Latin American Film Festival 2010

Best Cinematography
Pedro González-Rubio 

Miami Film Festival 2010

Grand Jury Prize
Ibero-American Competition
Pedro González-Rubio 

Morelia International Film Festival 2009

Audience Award
Feature Film Competition Award

Philadelphia Film Festival 2010

Audience Award - Honorable Mention
World Narratives
Pedro González-Rubio 

Rotterdam International Film Festival 2010

Tiger Award
Pedro González-Rubio 

A film that ''touches deeply without being too sentimental''. This film, about a father and son that ... More


Toulouse Latin America Film Festival 2010

Pedro González-Rubio 

Village Voice Film Poll 2010

VVFP Award
Best First Feature
5th place. Tied with Guy and Madeline on a Park Bench (2009).

Before their inevitable farewell, Jorge, a young man of Mayan roots, and Natan, his half-Italian son, spend time together living off the Banco Chinchorro coral reef.


Alamar (To the Sea) is a 2009 Spanish-language documentary-style film about a boy visiting his father on the Banco Chinchorro. It is by Pedro González-Rubio. Alamar won best picture and the audience award at the seventh Morelia International Film Festival.

User Reviews

Alamar: Deeply Humbling

23 May 2011 | by Baron Ronan Doyle (imagiking@gmail.com) (Ireland)

Named as the film of 2010 by a site in which I invest some credence, Alamar was something I was keen to seek out and take in, its status as an is-it-isn''t-it-documentary an added factor to its appeal.

Leaving the urban residence of his mother to spend time with his father and grandfather off the Mexican coast, Natan experiences the wonders of unadulterated nature in this tiny fishing community.

There has been some degree of questioning as to whether Alamar ought to be classed as a documentary, owing perhaps to its lack of a distinct narrative as such. Certainly the lifestyle it portrays and documents is a real one, lived by real people in the real world. The names of the performers seem to suggest that this is a real family, Natan the actual son of these parents rather than simply playing the role. Maybe it is a documentary. Maybe there is fictionalisation; maybe this sets it apart and classifies it as a narrative film. The one thing I can say for sure is that whether it is documentary or not is irrelevant. It matters not in the slightest whether this story is a reality, whether these people really relate to each other, whether they are paid actors, for so engrossing, engaging, endearing, and enthralling is the film that we are made to feel almost as though we are right there with them every step of the way as they travel from city to sea, from urbanity to rurality of the most secluded sort imaginable. To call the film''s cinematography majestic would be to call the ocean which plays such a huge part in its beauty wet: a gross understatement. Each frame lovingly captures the dazzlingly effulgent seascapes, every second of audio the enrapturing calm, the comforting hush. The phrase "words can''t describe" is tossed about all too often, almost stripped of the true significance of its meaning, but it can be put to use here without even the slightest suggestion of hyperbole. Words cannot describe the encompassing wonder of the images and sounds captured; indeed, it seems only film can do so. One gets a sense that it is exactly this kind of task for which the medium was envisaged: to present that which can be expressed, be conveyed, be imagined in no other way. There is a complex simplicity to the way of life Alamar depicts, a system of frugality and self-sustenance which is deeply humbling, even moving, to witness. Sitting there, watching this astounding film portray this astounding life on my fancy television and DVD player in my suburban home, all but indistinguishable from the hundreds of clones around it, tears of joyous appreciation graced my cheeks; tears of recognition, of understanding that there remains such vast and astounding beauty in the world. For some 73 minutes I was transported into another life, a life wherein I could appreciate something completely different. Many would describe it as a basic existence, but it is so much more than that. So much more. To see the young Natan revel in the regal splendour of the bird he declares "Blanquita" is to be transported mentally, emotionally, philosophically, to an entirely different plane. Words may not be able to describe the feelings which this emotional experience engenders, but one word can sum up precisely the experience itself: cinema. Purely and simply, this is cinema; this is its power, its potential realised.

Writing about Alamar, thinking about it and picturing once more its perspective-altering images makes me immediately want to turn my back on everything I know and live life as these people do, out in the great wild open. Thankfully, I can do just that with the film, for so powerful is its effect, if only for 73 minutes...