
Evoking a Christmas Eve in late 1990s’ Mexico City and drawing on telenovela and home movie aesthetics, MACDO delivers a sharp exploration of family power dynamics and the mechanisms of domination within a household.
In full swing of the VHS home movie subgenre within the larger context of found footage cinema (and at a time when the genre seems to be entering a crisis of sorts), Mexican filmmaker Racornelia revitalises it with a deeply — and unapologetically — political film that hijacks the means of nonfiction to create a “fake” document of one Christmas Eve in the late 1990s, within a wealthy, conservative, and, despite a posh appearance, dysfunctional young family. Recentering power — let us not forget that, until recently, recording domestic life via moving images was reserved for the the wealthier classes — MACDO constantly raises the two essential questions (who is filming and who is being filmed) in order to dismantle the patriarchal and economic violence that underlies social reproduction, while flipping the conventions of its genre upside down in a second (unsettling) half of the film. (Flavia Dima)

Racornelia is a multidisciplinary artist born in Mexico. They trained as a director with filmmakers Victor Erice, Naomi Uman, Carlos Reygadas, and Amat Escalante; and as a screenwriter in the VFS Screenwriting program through the Latin American Screenwriting Contest, which awarded them a full scholarship in 2016. In 2021, they participated in FFR’s Rotterdam Lab with their company Enantiodromia. Since then, they offer workshops and consultancies to emerging voices in film and other audiovisual manifestations.