Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
TIME HEALS PLAYS CHESS ON A CLOCK
Filmed in an old family home about to be demolished, Time Heals reminds us of the importance of memory as the only source of change in an era where history continually repeats itself.
Time Heals is a strategy game with rules that are never established. It questions fun, love, revenge, and the capacity for evolution, provoking irreversible destinies that open the door to new yesterdays. Apparently enjoying infinite lives, as if in a video game where the chaotic decline of reality intensifies with each restart. We begin to wonder as to why the decisions we made haven´t helped us to level up?
TIME HEALS PLAYS CHESS ON A CLOCK
Filmed in an old family home about to be demolished, Time Heals reminds us of the importance of memory as the only source of change in an era where history continually repeats itself.
Time Heals is a strategy game with rules that are never established. It questions fun, love, revenge, and the capacity for evolution, provoking irreversible destinies that open the door to new yesterdays. Apparently enjoying infinite lives, as if in a video game where the chaotic decline of reality intensifies with each restart. We begin to wonder as to why the decisions we made haven´t helped us to level up?
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
SUMMARY
Inside a seemingly abandoned house, the perception of time, reality, and identity become distorted in a debilitating time loop. Time heals, a story where control is lost in a compulsion to repeat the same moments over and over again at a party with no escape in sight.
SYNOPSIS
Trapped in what was once a luxurious home, three friends find themselves repeating the same events at an endless party from which they cannot escape. While searching for a way out, they find themselves confronted by irrational figures and situations that push them to question the reality around them, leading them to the inexplicable.
Time Heals is a surreal exploration of the nature of fate, where the rules of time and space fade, and the line between reality and illusion blurs. In this strange game, decisions seem to have no effect, and the true nature of logic remains hidden.
SUMMARY
Inside a seemingly abandoned house, the perception of time, reality, and identity become distorted in a debilitating time loop. Time heals, a story where control is lost in a compulsion to repeat the same moments over and over again at a party with no escape in sight.
SYNOPSIS
Trapped in what was once a luxurious home, three friends find themselves repeating the same events at an endless party from which they cannot escape. While searching for a way out, they find themselves confronted by irrational figures and situations that push them to question the reality around them, leading them to the inexplicable.
Time Heals is a surreal exploration of the nature of fate, where the rules of time and space fade, and the line between reality and illusion blurs. In this strange game, decisions seem to have no effect, and the true nature of logic remains hidden.
VISUAL STYLE AND PRODUCTION TECHNIQUE
Surrealist and inspired by B-movies, which echoes their ridiculous and irregular gestures. The characters inhabit an absurd and disorienting atmosphere, marked by saturated colors and exaggerated visual effects. In this ambience, they must confront their deepest fears and desires.
The digitally animated transitions distort reality, blending the grotesque and the humorous through a non-linear narrative. All the while, the film plays with the notion of time, portraying a character who reflects on control, guilt, destiny, and freedom.
VISUAL STYLE AND PRODUCTION TECHNIQUE
Surrealist and inspired by B-movies, which echoes their ridiculous and irregular gestures. The characters inhabit an absurd and disorienting atmosphere, marked by saturated colors and exaggerated visual effects. In this ambience, they must confront their deepest fears and desires.
The digitally animated transitions distort reality, blending the grotesque and the humorous through a non-linear narrative. All the while, the film plays with the notion of time, portraying a character who reflects on control, guilt, destiny, and freedom.
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
TIME HEALS, REDEFINING THE MOMENTS
Time is the tool with which we shape our destiny. Unable to pause the minute hand, all we can do is try to repeat the moments or foresee a decision to change them in the future. But what would happen if we lost control of the minimum we had left to do with those moments? What if we lost our will and desire?
Time Heals, a film written by Juan Garcini and Sebastián Tapie (Los Rotoz), along with Rodrigo Díaz, questions the possibility of how a situation could continue endlessly, from an evil god who plays with us, as if we were in a video game. The film immerses us in a dream of humans conditioned to a body and the storm that time can generate in the psyche if we fail to understand it.
Portrayed in a dreamlike vision, the film depicts surreal settings that strip everyday life of its passive nature, while simultaneously heightening the senses through the dissonance between dialogue, costumes, and scenes. With this cinematic technique, Time Heals impacts the viewer, who seeks a tangible meaning; a symbolic connection between what they see on screen and what their reality has told them as to how things are.
TIME HEALS, REDEFINING THE MOMENTS
Time is the tool with which we shape our destiny. Unable to pause the minute hand, all we can do is try to repeat the moments or foresee a decision to change them in the future. But what would happen if we lost control of the minimum we had left to do with those moments? What if we lost our will and desire?
Time Heals, a film written by Juan Garcini and Sebastián Tapie (Los Rotoz), along with Rodrigo Díaz, questions the possibility of how a situation could continue endlessly, from an evil god who plays with us, as if we were in a video game. The film immerses us in a dream of humans conditioned to a body and the storm that time can generate in the psyche if we fail to understand it.
Portrayed in a dreamlike vision, the film depicts surreal settings that strip everyday life of its passive nature, while simultaneously heightening the senses through the dissonance between dialogue, costumes, and scenes. With this cinematic technique, Time Heals impacts the viewer, who seeks a tangible meaning; a symbolic connection between what they see on screen and what their reality has told them as to how things are.
The three friends, protagonists (and paradoxically antagonists as time moves forward) of the story, are unconsciously awakened by a timelessness that has taken control of their lives. By playing with time, they have been left without it. They only recognize the way out of their looping nightmare through philosophical themes focused on music, love, politics, and religion; themes that, in our reality, require time to exist.
Through the loops that enter and exit the same house, we can observe various characters who no longer question time, but rather cling to the absurd condition of existing in a dreamlike environment that overthrows the institutional beliefs of both culture and politics. Only death can save them, but, remaining human, their experience is reduced to the attachment to survival.
Paradoxically, Time Healsextends the basic questions of existentialist philosophy onto a canvas that houses art and life in a single landscape. When searching for answers, we can only find certainty if we return to the primitive state of things: time, space, desire, survival, and childhood; which, by ignoring the passing of seconds, can take them over.
The three friends, protagonists (and paradoxically antagonists as time moves forward) of the story, are unconsciously awakened by a timelessness that has taken control of their lives. By playing with time, they have been left without it. They only recognize the way out of their looping nightmare through philosophical themes focused on music, love, politics, and religion; themes that, in our reality, require time to exist.
Through the loops that enter and exit the same house, we can observe various characters who no longer question time, but rather cling to the absurd condition of existing in a dreamlike environment that overthrows the institutional beliefs of both culture and politics. Only death can save them, but, remaining human, their experience is reduced to the attachment to survival.
Paradoxically, Time Healsextends the basic questions of existentialist philosophy onto a canvas that houses art and life in a single landscape. When searching for answers, we can only find certainty if we return to the primitive state of things: time, space, desire, survival, and childhood; which, by ignoring the passing of seconds, can take them over.
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
BIOGRAPHIES AND ROLES
BIOGRAPHIES AND ROLES
JUAN GARCINI – Director/Actor/Screenplay
Musician, Editor, Sound Designer and Actor with a flair for the Plastic Arts. He was born in Mexico City and holds a degree in Film and Television from CENTRO University. He also studied acting at Casa Azul and Music Production at GMartell. He has also contributed his time and energy to hosting exhibitions at the Cromatica Art Gallery, a space dedicated to contemporary art. He was Sound Designer for the multi-award-winning films Cometa 1600: ¿A dónde van las mariposas? (2020) and Nudus (2024), among others. He plays guitar and bass and is one of the vocalists for the psychedelic rock band Los Rotoz.
His visual work has been exhibited in various alternative spaces. Garcini is distinguished by a multidisciplinary approach that combines image, sound, and philosophy. He explores themes such as Identity, Time, and Perception. (www.juangarcini.com)
JUAN GARCINI – Director/Actor/Screenplay
Musician, Editor, Sound Designer and Actor with a flair for the Plastic Arts. He was born in Mexico City and holds a degree in Film and Television from CENTRO University. He also studied acting at Casa Azul and Music Production at GMartell. He has also contributed his time and energy to hosting exhibitions at the Cromatica Art Gallery, a space dedicated to contemporary art. He was Sound Designer for the multi-award-winning films Cometa 1600: ¿A dónde van las mariposas? (2020) and Nudus (2024), among others. He plays guitar and bass and is one of the vocalists for the psychedelic rock band Los Rotoz.
His visual work has been exhibited in various alternative spaces. Garcini is distinguished by a multidisciplinary approach that combines image, sound, and philosophy. He explores themes such as Identity, Time, and Perception. (www.juangarcini.com)
SEBASTIÁN TAPIE – Actor/Screenwriter/Producer
Also known as “Chevy,” he is a Multidisciplinary Artist born in Mexico City and has a solid background in Piano, Harmony, Counterpoint, Choir, Composition, and Jazz. His versatility encompasses Drums, Guitar, Bass, and Keyboard. As a member of Los Rotoz, a psychedelic rock band, he explores mental and urban themes through a unique soundscape. He has collaborated with Raybonel and La Hostia Hidrófoba. In the audiovisual world, he has participated in commercials and stop-motion short films, such as the notable project with comedian El Cojo Feliz. He is an event photographer for Magic Video.
His artistic philosophy is based on the fusion of Music, Film, and Photography for exploring new forms of expression through combining these disciplines and bringing a fresh, creative perspective to his projects.
Sebastián tapie
Actor/Screenwriter
Also known as “Chevy,” he is a Multidisciplinary Artist born in Mexico City and has a solid background in Piano, Harmony, Counterpoint, Choir, Composition, and Jazz. His versatility encompasses Drums, Guitar, Bass, and Keyboard. As a member of Los Rotoz, a psychedelic rock band, he explores mental and urban themes through a unique soundscape. He has collaborated with Raybonel and La Hostia Hidrófoba. In the audiovisual world, he has participated in commercials and stop-motion short films, such as the notable project with comedian El Cojo Feliz. He is an event photographer for Magic Video.
His artistic philosophy is based on the fusion of Music, Film, and Photography for exploring new forms of expression through combining these disciplines and bringing a fresh, creative perspective to his projects.
ANTONIO ABIZAAD – Actor
Musician and Music Producer from Gmartell University with a degree in Audio Engineering and Sound Design. He has developed a career focused on creating sound environments and live sets, adapted for broadcast on various live streaming platforms.
He´s a member of the rock band Los Rotoz, where he fuses genres such as Noise, Ambient, Punk, Trash, and Psychedelic Rock, inspired by everyday life experiences in Mexico City. He also has knowledge of electronics with a specialization in Modulation Design Effects and Pedals, which allows him to bring a distinctive and unique sound to his musical projects.
Antonio Abizaad
Actor
Musician and Music Producer from Gmartell University with a degree in Audio Engineering and Sound Design. He has developed a career focused on creating sound environments and live sets, adapted for broadcast on various live streaming platforms.
He´s a member of the rock band Los Rotoz, where he fuses genres such as Noise, Ambient, Punk, Trash, and Psychedelic Rock, inspired by everyday life experiences in Mexico City. He also has knowledge of electronics with a specialization in Modulation Design Effects and Pedals, which allows him to bring a distinctive and unique sound to his musical projects.
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
RODRIGO DÍAZ – Director/Actor/Screenplay
Also known as “Ro,” is an Independent Mexican Filmmaker and Multidisciplinary Artist and a graduate of the Film and Television Program at Universidad CENTRO. In his short film El sueño (The Dream), he explores the fine line between sanity and insanity with a surrealist approach and a touch of humor, inviting us to reflect on human contradictions. He worked on the Science Fiction film Nudus and the short film Ora Haga, in addition to collaborating with brands such as Bose and Toyota. His training in Music Business and 2D and 3D Animation complements his creative vision.
RODRIGO DÍAZ Director/Actor/Screenplay
Also known as “Ro,” is an Independent Mexican Filmmaker and Multidisciplinary Artist and a graduate of the Film and Television Program at Universidad CENTRO. In his short film El sueño (The Dream), he explores the fine line between sanity and insanity with a surrealist approach and a touch of humor, inviting us to reflect on human contradictions. He worked on the Science Fiction film Nudus and the short film Ora Haga, in addition to collaborating with brands such as Bose and Toyota. His training in Music Business and 2D and 3D Animation complements his creative vision.
As a member of the alternative hip-hop duo GATA PERSE, Ro explores Mexican reality through his music and has produced events such as the Ciudad del Sol Rap Festival to support hip-hop in his country.
DIEGO COLLAZO – Director of Photography
With a solid background in the art and science of visual storytelling, he holds a bachelor’s degree in Film and Television from CENTRO University and a Master Class from the ASC in Los Angeles. He developed his experience through participation in short films, music videos, and advertising. With a decade in the industry, he has directed commercials for renowned brands such as Corona, Bacardi, Mercedes-Benz, and Cadillac, demonstrating his adaptability to diverse visual styles.
In film, he has expanded his repertoire by working as a second unit operator on films such as 50 or Two Whales Meet at the Beach (2020) and A Bad Actor (2023). In television, he has filmed the seasons of Escuela Imparables for NBC Universal. Fluent in English and based in Mexico City, Diego is available for international projects and ready to contribute his technical and artistic approach to new storytelling opportunities.
DIEGO COLLAZO
Director of Photography
With a solid background in the art and science of visual storytelling, he holds a bachelor’s degree in Film and Television from CENTRO University and a Master Class from the ASC in Los Angeles. He developed his experience through participation in short films, music videos, and advertising. With a decade in the industry, he has directed commercials for renowned brands such as Corona, Bacardi, Mercedes-Benz, and Cadillac, demonstrating his adaptability to diverse visual styles.
In film, he has expanded his repertoire by working as a second unit operator on films such as 50 or Two Whales Meet at the Beach (2020) and A Bad Actor (2023). In television, he has filmed the seasons of Escuela Imparables for NBC Universal. Fluent in English and based in Mexico City, Diego is available for international projects and ready to contribute his technical and artistic approach to new storytelling opportunities.
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
SALVADOR GARCINI – Actor
He is a theatre, film and television director from Mexico City. He also trained as an actor in classical theater at UNAM and studied under great masters such as: Juan José Gurrolla, Julio Castillo, Hector Mendoza, and Luis de Tavira. He stood out in Mexican cinema of the 1970s in films such as Canoa (1976), Las poquianchis (1976), Cadena perpetua (1979), Los Albañiles (1981), La Güera Rodriguez (1982), among others.
He has won multiple awards as a theater director with the stagings of: La Celestina, A Midsummer Night’s Dream, King Lear, Hamlet, and Autumn Sonata, to name a few. He has directed telenovelas for 40 years, achieving great success with Volver a empezar, Soñadoras, Amigas y rivales, Las vía del amor, and Soy tu dueña, among many others. He has returned to his role as a film actor with: Mexican Gangster (2014) and Impossible Things (2021), directed by Ernesto Contreras.
SALVADOR GARCINI
Actor
He is a theatre, film and television director from Mexico City. He also trained as an actor in classical theater at UNAM and studied under great masters such as: Juan José Gurrolla, Julio Castillo, Hector Mendoza, and Luis de Tavira. He stood out in Mexican cinema of the 1970s in films such as Canoa (1976), Las poquianchis (1976), Cadena perpetua (1979), Los Albañiles (1981), La Güera Rodriguez (1982), among others.
He has won multiple awards as a theater director with the stagings of: La Celestina, A Midsummer Night’s Dream, King Lear, Hamlet, and Autumn Sonata, to name a few. He has directed telenovelas for 40 years, achieving great success with Volver a empezar, Soñadoras, Amigas y rivales, Las vía del amor, and Soy tu dueña, among many others. He has returned to his role as a film actor with: Mexican Gangster (2014) and Impossible Things (2021), directed by Ernesto Contreras.
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
NICOLÁS GUZMÁN – Actor
Born in Xalapa, Veracruz, he studied Fine Arts at the Universidad Veracruzana (2001-2005).
His artistic activity encompasses Painting, Sculpture, Performance, Installation, Graphic Arts, Photography, and Video, with a focus on the nature of art and the limits of materials and formats. Guzmán has presented solo exhibitions at the Rufino Tamayo Museum of Pre-Hispanic Art in Oaxaca, the Museum of Mexico City, the Chao Galpão Gallery in Brazil, and Spike Print Studio in England, among others.
He has participated in group exhibitions at Galería Nueva in Madrid, the San Agustín Arts Center in Oaxaca, and the Tokyo University of Arts and Music. His artist residencies include the USA, Cambodia, England, Spain, and Mexico. He has exhibited at international fairs such as Bloom, Zona Maco, and Christie’s Multiplied, and in collections at the IAGO and José Luis Cuevas Museum.
NICOLÁS GUZMÁN
Actor
Born in Xalapa, Veracruz, he studied Fine Arts at the Universidad Veracruzana (2001-2005).
His artistic activity encompasses Painting, Sculpture, Performance, Installation, Graphic Arts, Photography, and Video, with a focus on the nature of art and the limits of materials and formats. Guzmán has presented solo exhibitions at the Rufino Tamayo Museum of Pre-Hispanic Art in Oaxaca, the Museum of Mexico City, the Chao Galpão Gallery in Brazil, and Spike Print Studio in England, among others.
He has participated in group exhibitions at Galería Nueva in Madrid, the San Agustín Arts Center in Oaxaca, and the Tokyo University of Arts and Music. His artist residencies include the USA, Cambodia, England, Spain, and Mexico. He has exhibited at international fairs such as Bloom, Zona Maco, and Christie’s Multiplied, and in collections at the IAGO and José Luis Cuevas Museum.
JOSUÉ DE LOS RÍOS ARZATE – Actor
A multifaceted creator, trained in film and television, specializing in Creative Code for Animation and Video. His career spans Visual Arts, Music, Photography, Clothing Design, Art Production, and Video Art. He has exhibited his work at the Design Museum in London and COMA Galleries. He served as editor and contributed oil painting animation to the film El sueño de los tordos (The Dream of the Thrushes). He currently works as an actor in El tiempo lo cura (Time Heals.)
His creativity flourishes by creating without conceptual restrictions and exploring complex ideas. He focuses on balancing concepts and resources to achieve high quality in his projects, despite apparent limitations. In his role as Assistant Director, he integrates creativity and organization.
JOSUÉ DE LOS RÍOS ARZATE Actor
A multifaceted creator, trained in film and television, specializing in Creative Code for Animation and Video. His career spans Visual Arts, Music, Photography, Clothing Design, Art Production, and Video Art. He has exhibited his work at the Design Museum in London and COMA Galleries. He served as editor and contributed oil painting animation to the film El sueño de los tordos (The Dream of the Thrushes). He currently works as an actor in El tiempo lo cura (Time Heals.)
His creativity flourishes by creating without conceptual restrictions and exploring complex ideas. He focuses on balancing concepts and resources to achieve high quality in his projects, despite apparent limitations. In his role as Assistant Director, he integrates creativity and organization.
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
GERMÁN BRINGAS – Actor/Musician
Born in Mexico City in 1964, he is a multi-instrumentalist on Piano, Saxophone, Trumpet, and self-made Tank Drums. He specializes in free improvisation and free jazz. He is a composer, producer, and founder of the independent label Jazzorca Records (since 1991,with over 73 productions) and the Café Jazzorca Forum (since 1993).
He has played, collaborated, and recorded with internationally renowned musicians such as John Zorn, Evan Parker, Fred Frith, Tristan Honsinger, Chris Cutler, Akira Sakata, Eliott Levin, Frode Gjerstad, Tatsuya Yoshida, Ingebirt Hacker Flaten, Pal Nilsen-Love, Tony Malaby, and Jarret Gilgore.
He has also performed in cities such as New York, Berlin, Turin, Milan, Hamburg, Trondheim, and Paris. He has composed for several ensembles in particular: Defragmentation Zone with Humpback Whales. His work has been characterized by more than 38 years of practice and the development of his own techniques for perceptual expansion linked to Improvisation.
GERMÁN BRINGAS Actor/Musician
Born in Mexico City in 1964, he is a multi-instrumentalist on Piano, Saxophone, Trumpet, and self-made Tank Drums. He specializes in free improvisation and free jazz. He is a composer, producer, and founder of the independent label Jazzorca Records (since 1991,with over 73 productions) and the Café Jazzorca Forum (since 1993).
He has played, collaborated, and recorded with internationally renowned musicians such as John Zorn, Evan Parker, Fred Frith, Tristan Honsinger, Chris Cutler, Akira Sakata, Eliott Levin, Frode Gjerstad, Tatsuya Yoshida, Ingebirt Hacker Flaten, Pal Nilsen-Love, Tony Malaby, and Jarret Gilgore.
He has also performed in cities such as New York, Berlin, Turin, Milan, Hamburg, Trondheim, and Paris. He has composed for several ensembles in particular: Defragmentation Zone with Humpback Whales. His work has been characterized by more than 38 years of practice and the development of his own techniques for perceptual expansion linked to Improvisation.
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
SONIA RANGEL – Production Design/Actress
Her work is characterized by the dialogue between reality and an alternate universe. From an interdisciplinary and experimental perspective, her works explore the experience of Mexican women in an absurd context. Initially, she used Collage, Intervention, and Painting techniques to explore the relationship between society and mysticism.
Currently, she focuses more on video art and digital collage, using repetition to express interest in symmetry and infinity. She documents social adventures and the melancholy of contemporary Mexico.
She has also been invited to act in films such as Las Plañideras and El sueño de los tordos. Since 2018, she has been managing group exhibitions in Plastic Arts, and since 2021, curating exhibitions and cultural events featuring contemporary Mexican artists at her Galería Cromática in the Condesa District.
SONIA RANGEL – Production Design/Actress
Her work is characterized by the dialogue between reality and an alternate universe. From an interdisciplinary and experimental perspective, her works explore the experience of Mexican women in an absurd context. Initially, she used Collage, Intervention, and Painting techniques to explore the relationship between society and mysticism.
Currently, she focuses more on video art and digital collage, using repetition to express interest in symmetry and infinity. She documents social adventures and the melancholy of contemporary Mexico.
She has also been invited to act in films such as Las Plañideras and El sueño de los tordos. Since 2018, she has been managing group exhibitions in Plastic Arts, and since 2021, curating exhibitions and cultural events featuring contemporary Mexican artists at her Galería Cromática in the Condesa District.
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
INTERVIEW
INTERVIEW
Juan, how about telling us a little about the initial inspiration for the film?
The inspiration stems from a game that started with a TikTok we did at Chevy’s grandfather’s house. One of my bandmates in Los Rotoz.had a barbecue one night that went from normalcy to an abrupt change that enveloped us in a mysterious atmosphere. The idea was born from the reaction to this sudden and odd change. I wanted to explore it further in an organic collaboration that we’ve always had as a creative team and as a band.
Can you tell us a little more about the collaboration with your band and the creation of the soundtrack?
Yes, it was something out of the ordinary since we not only scored the film but also wrote and acted in it. The legendary Germán Bringas also contributed musically with saxophones and effects that added texture to the film; he’s a master at creating atmospheres.
Juan, how about telling us a little about the initial inspiration for the film?
The inspiration stems from a game that started with a TikTok we did at Chevy’s grandfather’s house. One of my bandmates in Los Rotoz.had a barbecue one night that went from normalcy to an abrupt change that enveloped us in a mysterious atmosphere. The idea was born from the reaction to this sudden and odd change. I wanted to explore it further in an organic collaboration that we’ve always had as a creative team and as a band.
Can you tell us a little more about the collaboration with your band and the creation of the soundtrack?
Yes, it was something out of the ordinary since we not only scored the film but also wrote and acted in it. The legendary Germán Bringas also contributed musically with saxophones and effects that added texture to the film; he’s a master at creating atmospheres.
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
Speaking of Bringas, what can you tell us about his character in the film?
He’s a kind of mad philosopher obsessed with time who warns one of the main characters about the temporal prison he lives in. His approach to music is very free and spontaneous, and that fits perfectly with the spirit of the film.
How is Bringas’s influence reflected in the film?
He definitely had a big influence on how we resolved certain scenes. Bringas, for me, is a legend. His music is a kind of spiritual legacy. He’s one of those influential musicians who has inspired many artists in Mexico. Because his music is so experimental, it pushed us, as well, to improvise more than usual. The final scenes, especially, have an improvisational quality that brings a unique energy to the narrative.
Speaking of Bringas, what can you tell us about his character in the film?
He’s a kind of mad philosopher obsessed with time who warns one of the main characters about the temporal prison he lives in. His approach to music is very free and spontaneous, and that fits perfectly with the spirit of the film.
How is Bringas’s influence reflected in the film?
He definitely had a big influence on how we resolved certain scenes. Bringas, for me, is a legend. His music is a kind of spiritual legacy. He’s one of those influential musicians who has inspired many artists in Mexico. Because his music is so experimental, it pushed us, as well, to improvise more than usual. The final scenes, especially, have an improvisational quality that brings a unique energy to the narrative.
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
What were your main visual and narrative influences for the film?
Perhaps not a particular influence from anyone or anything, but imagry that had dreamlike and abstract tones that would captivate visually. I gravitate toward the chaotic and the untidy, like the house where the film takes place. I also sought to incorporate elements of comedy that allowed me to play with different tones throughout the narrative. There are moments when the atmosphere is serious and surreal, while at other times, humor emerges spontaneously, creating a contrast that explores the duality between the absurd and the profound.
What would you say is the central message of the film?
It revolves around the relationship between Time and Free Will. It explores how the characters try to exert control over their destinies only to discover they are trapped in a cycle that is difficult to escape. The film reflects on the impossibility of mastering time and how past decisions, even if they are attempted to be changed, have inevitable consequences. It is a meditation on fate, punishment, and the constant human struggle to free ourselves from the invisible bonds of time.
Was it difficult to work with a non-linear narrative?
It was a challenge, even though we already had a clear idea of the loops and keys that would solve the game the house imposes. The process was intuitive and allowed us to explore the nature of time and its relationship among the characters. The idea of an endless cycle remained the main focus, as if we were in a chess game where progress depended on solving each new problem.
What were your main visual and narrative influences for the film?
Perhaps not a particular influence from anyone or anything, but imagry that had dreamlike and abstract tones that would captivate visually. I gravitate toward the chaotic and the untidy, like the house where the film takes place. I also sought to incorporate elements of comedy that allowed me to play with different tones throughout the narrative. There are moments when the atmosphere is serious and surreal, while at other times, humor emerges spontaneously, creating a contrast that explores the duality between the absurd and the profound.
What would you say is the central message of the film?
It revolves around the relationship between Time and Free Will. It explores how the characters try to exert control over their destinies only to discover they are trapped in a cycle that is difficult to escape. The film reflects on the impossibility of mastering time and how past decisions, even if they are attempted to be changed, have inevitable consequences. It is a meditation on fate, punishment, and the constant human struggle to free ourselves from the invisible bonds of time.
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
How did you develop the characters’ personalities?
The characters are fictional versions of ourselves. They are trapped by the house, which subtly affects their actions. Although throughout the story they try to make decisions and escape, something in the environment limits them, creating in them the feeling that they lack full control. The house, without fully revealing the nature of its power, keeps them trapped in a cycle, generating a constant struggle between their will and the forces that surround them.
How did you integrate the band’s music into the film?
The music captures the feeling of being trapped in time, guiding the film’s narrative flow with changes in tone and level. It’s through the soundtrack that the transitions are constructed and the experience is given coherence, making music an essential component in immersing the viewer in the cycle from which the characters cannot escape.
What do you hope audiences take away from the film?
I want the audience to feel swept away by time and rhythm. I´d like the viewer to be immersed in a dreamlike atmosphere, which, even if it not controlled, can also be deeply fascinating. I hope logic vanishes and the uncontrollable comes to life.
TECHNICAL DETAILS
Time Heals
Science Fiction
Spanish
70 min
4K 16:9 Dolby Atmos
Mexico 2025
TECHNICAL DETAILS
Time Heals
Science Fiction
Spanish
70 min
4K 16:9 Dolby Atmos
Mexico 2025
CONTACT
Rodrigo Díaz
Tel. +52 7298020744
rodrigorv@gmail.com
CONTACT
Rodrigo Díaz
Tel. +52 7298020744
rodrigorv@gmail.com
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
TIME HEALS PLAYS CHESS ON A CLOCK
Filmed in an old family home about to be demolished, Time Heals reminds us of the importance of memory as the only source of change in an era where history continually repeats itself.
Time Heals is a strategy game with rules that are never established. It questions fun, love, revenge, and the capacity for evolution, provoking irreversible destinies that open the door to new yesterdays. Apparently enjoying infinite lives, as if in a video game where the chaotic decline of reality intensifies with each restart. We begin to wonder as to why the decisions we made haven´t helped us to level up?
TIME HEALS PLAYS CHESS ON A CLOCK
Filmed in an old family home about to be demolished, Time Heals reminds us of the importance of memory as the only source of change in an era where history continually repeats itself.
Time Heals is a strategy game with rules that are never established. It questions fun, love, revenge, and the capacity for evolution, provoking irreversible destinies that open the door to new yesterdays. Apparently enjoying infinite lives, as if in a video game where the chaotic decline of reality intensifies with each restart. We begin to wonder as to why the decisions we made haven´t helped us to level up?
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
SUMMARY
Inside a seemingly abandoned house, the perception of time, reality, and identity become distorted in a debilitating time loop. Time heals, a story where control is lost in a compulsion to repeat the same moments over and over again at a party with no escape in sight.
SYNOPSIS
Trapped in what was once a luxurious home, three friends find themselves repeating the same events at an endless party from which they cannot escape. While searching for a way out, they find themselves confronted by irrational figures and situations that push them to question the reality around them, leading them to the inexplicable.
Time Heals is a surreal exploration of the nature of fate, where the rules of time and space fade, and the line between reality and illusion blurs. In this strange game, decisions seem to have no effect, and the true nature of logic remains hidden.
SUMMARY
Inside a seemingly abandoned house, the perception of time, reality, and identity become distorted in a debilitating time loop. Time heals, a story where control is lost in a compulsion to repeat the same moments over and over again at a party with no escape in sight.
SYNOPSIS
Trapped in what was once a luxurious home, three friends find themselves repeating the same events at an endless party from which they cannot escape. While searching for a way out, they find themselves confronted by irrational figures and situations that push them to question the reality around them, leading them to the inexplicable.
Time Heals is a surreal exploration of the nature of fate, where the rules of time and space fade, and the line between reality and illusion blurs. In this strange game, decisions seem to have no effect, and the true nature of logic remains hidden.
VISUAL STYLE AND PRODUCTION TECHNIQUE
Surrealist and inspired by B-movies, which echoes their ridiculous and irregular gestures. The characters inhabit an absurd and disorienting atmosphere, marked by saturated colors and exaggerated visual effects. In this ambience, they must confront their deepest fears and desires.
The digitally animated transitions distort reality, blending the grotesque and the humorous through a non-linear narrative. All the while, the film plays with the notion of time, portraying a character who reflects on control, guilt, destiny, and freedom.
VISUAL STYLE AND PRODUCTION TECHNIQUE
Surrealist and inspired by B-movies, which echoes their ridiculous and irregular gestures. The characters inhabit an absurd and disorienting atmosphere, marked by saturated colors and exaggerated visual effects. In this ambience, they must confront their deepest fears and desires.
The digitally animated transitions distort reality, blending the grotesque and the humorous through a non-linear narrative. All the while, the film plays with the notion of time, portraying a character who reflects on control, guilt, destiny, and freedom.
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
TIME HEALS, REDEFINING THE MOMENTS
Time is the tool with which we shape our destiny. Unable to pause the minute hand, all we can do is try to repeat the moments or foresee a decision to change them in the future. But what would happen if we lost control of the minimum we had left to do with those moments? What if we lost our will and desire?
Time Heals, a film written by Juan Garcini and Sebastián Tapie (Los Rotoz), along with Rodrigo Díaz, questions the possibility of how a situation could continue endlessly, from an evil god who plays with us, as if we were in a video game. The film immerses us in a dream of humans conditioned to a body and the storm that time can generate in the psyche if we fail to understand it.
Portrayed in a dreamlike vision, the film depicts surreal settings that strip everyday life of its passive nature, while simultaneously heightening the senses through the dissonance between dialogue, costumes, and scenes. With this cinematic technique, Time Heals impacts the viewer, who seeks a tangible meaning; a symbolic connection between what they see on screen and what their reality has told them as to how things are.
TIME HEALS, REDEFINING THE MOMENTS
Time is the tool with which we shape our destiny. Unable to pause the minute hand, all we can do is try to repeat the moments or foresee a decision to change them in the future. But what would happen if we lost control of the minimum we had left to do with those moments? What if we lost our will and desire?
Time Heals, a film written by Juan Garcini and Sebastián Tapie (Los Rotoz), along with Rodrigo Díaz, questions the possibility of how a situation could continue endlessly, from an evil god who plays with us, as if we were in a video game. The film immerses us in a dream of humans conditioned to a body and the storm that time can generate in the psyche if we fail to understand it.
Portrayed in a dreamlike vision, the film depicts surreal settings that strip everyday life of its passive nature, while simultaneously heightening the senses through the dissonance between dialogue, costumes, and scenes. With this cinematic technique, Time Heals impacts the viewer, who seeks a tangible meaning; a symbolic connection between what they see on screen and what their reality has told them as to how things are.
The three friends, protagonists (and paradoxically antagonists as time moves forward) of the story, are unconsciously awakened by a timelessness that has taken control of their lives. By playing with time, they have been left without it. They only recognize the way out of their looping nightmare through philosophical themes focused on music, love, politics, and religion; themes that, in our reality, require time to exist.
Through the loops that enter and exit the same house, we can observe various characters who no longer question time, but rather cling to the absurd condition of existing in a dreamlike environment that overthrows the institutional beliefs of both culture and politics. Only death can save them, but, remaining human, their experience is reduced to the attachment to survival.
Paradoxically, Time Healsextends the basic questions of existentialist philosophy onto a canvas that houses art and life in a single landscape. When searching for answers, we can only find certainty if we return to the primitive state of things: time, space, desire, survival, and childhood; which, by ignoring the passing of seconds, can take them over.
The three friends, protagonists (and paradoxically antagonists as time moves forward) of the story, are unconsciously awakened by a timelessness that has taken control of their lives. By playing with time, they have been left without it. They only recognize the way out of their looping nightmare through philosophical themes focused on music, love, politics, and religion; themes that, in our reality, require time to exist.
Through the loops that enter and exit the same house, we can observe various characters who no longer question time, but rather cling to the absurd condition of existing in a dreamlike environment that overthrows the institutional beliefs of both culture and politics. Only death can save them, but, remaining human, their experience is reduced to the attachment to survival.
Paradoxically, Time Healsextends the basic questions of existentialist philosophy onto a canvas that houses art and life in a single landscape. When searching for answers, we can only find certainty if we return to the primitive state of things: time, space, desire, survival, and childhood; which, by ignoring the passing of seconds, can take them over.
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
BIOGRAPHIES AND ROLES
BIOGRAPHIES AND ROLES
JUAN GARCINI – Director/Actor/Screenplay
Musician, Editor, Sound Designer and Actor with a flair for the Plastic Arts. He was born in Mexico City and holds a degree in Film and Television from CENTRO University. He also studied acting at Casa Azul and Music Production at GMartell. He has also contributed his time and energy to hosting exhibitions at the Cromatica Art Gallery, a space dedicated to contemporary art. He was Sound Designer for the multi-award-winning films Cometa 1600: ¿A dónde van las mariposas? (2020) and Nudus (2024), among others. He plays guitar and bass and is one of the vocalists for the psychedelic rock band Los Rotoz.
His visual work has been exhibited in various alternative spaces. Garcini is distinguished by a multidisciplinary approach that combines image, sound, and philosophy. He explores themes such as Identity, Time, and Perception. (www.juangarcini.com)
JUAN GARCINI – Director/Actor/Screenplay
Musician, Editor, Sound Designer and Actor with a flair for the Plastic Arts. He was born in Mexico City and holds a degree in Film and Television from CENTRO University. He also studied acting at Casa Azul and Music Production at GMartell. He has also contributed his time and energy to hosting exhibitions at the Cromatica Art Gallery, a space dedicated to contemporary art. He was Sound Designer for the multi-award-winning films Cometa 1600: ¿A dónde van las mariposas? (2020) and Nudus (2024), among others. He plays guitar and bass and is one of the vocalists for the psychedelic rock band Los Rotoz.
His visual work has been exhibited in various alternative spaces. Garcini is distinguished by a multidisciplinary approach that combines image, sound, and philosophy. He explores themes such as Identity, Time, and Perception. (www.juangarcini.com)
SEBASTIÁN TAPIE – Actor/Screenwriter/Producer
Also known as “Chevy,” he is a Multidisciplinary Artist born in Mexico City and has a solid background in Piano, Harmony, Counterpoint, Choir, Composition, and Jazz. His versatility encompasses Drums, Guitar, Bass, and Keyboard. As a member of Los Rotoz, a psychedelic rock band, he explores mental and urban themes through a unique soundscape. He has collaborated with Raybonel and La Hostia Hidrófoba. In the audiovisual world, he has participated in commercials and stop-motion short films, such as the notable project with comedian El Cojo Feliz. He is an event photographer for Magic Video.
His artistic philosophy is based on the fusion of Music, Film, and Photography for exploring new forms of expression through combining these disciplines and bringing a fresh, creative perspective to his projects.
Sebastián tapie
Actor/Screenwriter
Also known as “Chevy,” he is a Multidisciplinary Artist born in Mexico City and has a solid background in Piano, Harmony, Counterpoint, Choir, Composition, and Jazz. His versatility encompasses Drums, Guitar, Bass, and Keyboard. As a member of Los Rotoz, a psychedelic rock band, he explores mental and urban themes through a unique soundscape. He has collaborated with Raybonel and La Hostia Hidrófoba. In the audiovisual world, he has participated in commercials and stop-motion short films, such as the notable project with comedian El Cojo Feliz. He is an event photographer for Magic Video.
His artistic philosophy is based on the fusion of Music, Film, and Photography for exploring new forms of expression through combining these disciplines and bringing a fresh, creative perspective to his projects.
ANTONIO ABIZAAD – Actor
Musician and Music Producer from Gmartell University with a degree in Audio Engineering and Sound Design. He has developed a career focused on creating sound environments and live sets, adapted for broadcast on various live streaming platforms.
He´s a member of the rock band Los Rotoz, where he fuses genres such as Noise, Ambient, Punk, Trash, and Psychedelic Rock, inspired by everyday life experiences in Mexico City. He also has knowledge of electronics with a specialization in Modulation Design Effects and Pedals, which allows him to bring a distinctive and unique sound to his musical projects.
Antonio Abizaad
Actor
Musician and Music Producer from Gmartell University with a degree in Audio Engineering and Sound Design. He has developed a career focused on creating sound environments and live sets, adapted for broadcast on various live streaming platforms.
He´s a member of the rock band Los Rotoz, where he fuses genres such as Noise, Ambient, Punk, Trash, and Psychedelic Rock, inspired by everyday life experiences in Mexico City. He also has knowledge of electronics with a specialization in Modulation Design Effects and Pedals, which allows him to bring a distinctive and unique sound to his musical projects.
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
RODRIGO DÍAZ – Director/Actor/Screenplay
Also known as “Ro,” is an Independent Mexican Filmmaker and Multidisciplinary Artist and a graduate of the Film and Television Program at Universidad CENTRO. In his short film El sueño (The Dream), he explores the fine line between sanity and insanity with a surrealist approach and a touch of humor, inviting us to reflect on human contradictions. He worked on the Science Fiction film Nudus and the short film Ora Haga, in addition to collaborating with brands such as Bose and Toyota. His training in Music Business and 2D and 3D Animation complements his creative vision.
RODRIGO DÍAZ Director/Actor/Screenplay
Also known as “Ro,” is an Independent Mexican Filmmaker and Multidisciplinary Artist and a graduate of the Film and Television Program at Universidad CENTRO. In his short film El sueño (The Dream), he explores the fine line between sanity and insanity with a surrealist approach and a touch of humor, inviting us to reflect on human contradictions. He worked on the Science Fiction film Nudus and the short film Ora Haga, in addition to collaborating with brands such as Bose and Toyota. His training in Music Business and 2D and 3D Animation complements his creative vision.
As a member of the alternative hip-hop duo GATA PERSE, Ro explores Mexican reality through his music and has produced events such as the Ciudad del Sol Rap Festival to support hip-hop in his country.
DIEGO COLLAZO – Director of Photography
With a solid background in the art and science of visual storytelling, he holds a bachelor’s degree in Film and Television from CENTRO University and a Master Class from the ASC in Los Angeles. He developed his experience through participation in short films, music videos, and advertising. With a decade in the industry, he has directed commercials for renowned brands such as Corona, Bacardi, Mercedes-Benz, and Cadillac, demonstrating his adaptability to diverse visual styles.
In film, he has expanded his repertoire by working as a second unit operator on films such as 50 or Two Whales Meet at the Beach (2020) and A Bad Actor (2023). In television, he has filmed the seasons of Escuela Imparables for NBC Universal. Fluent in English and based in Mexico City, Diego is available for international projects and ready to contribute his technical and artistic approach to new storytelling opportunities.
DIEGO COLLAZO
Director of Photography
With a solid background in the art and science of visual storytelling, he holds a bachelor’s degree in Film and Television from CENTRO University and a Master Class from the ASC in Los Angeles. He developed his experience through participation in short films, music videos, and advertising. With a decade in the industry, he has directed commercials for renowned brands such as Corona, Bacardi, Mercedes-Benz, and Cadillac, demonstrating his adaptability to diverse visual styles.
In film, he has expanded his repertoire by working as a second unit operator on films such as 50 or Two Whales Meet at the Beach (2020) and A Bad Actor (2023). In television, he has filmed the seasons of Escuela Imparables for NBC Universal. Fluent in English and based in Mexico City, Diego is available for international projects and ready to contribute his technical and artistic approach to new storytelling opportunities.
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
SALVADOR GARCINI – Actor
He is a theatre, film and television director from Mexico City. He also trained as an actor in classical theater at UNAM and studied under great masters such as: Juan José Gurrolla, Julio Castillo, Hector Mendoza, and Luis de Tavira. He stood out in Mexican cinema of the 1970s in films such as Canoa (1976), Las poquianchis (1976), Cadena perpetua (1979), Los Albañiles (1981), La Güera Rodriguez (1982), among others.
He has won multiple awards as a theater director with the stagings of: La Celestina, A Midsummer Night’s Dream, King Lear, Hamlet, and Autumn Sonata, to name a few. He has directed telenovelas for 40 years, achieving great success with Volver a empezar, Soñadoras, Amigas y rivales, Las vía del amor, and Soy tu dueña, among many others. He has returned to his role as a film actor with: Mexican Gangster (2014) and Impossible Things (2021), directed by Ernesto Contreras.
SALVADOR GARCINI
Actor
He is a theatre, film and television director from Mexico City. He also trained as an actor in classical theater at UNAM and studied under great masters such as: Juan José Gurrolla, Julio Castillo, Hector Mendoza, and Luis de Tavira. He stood out in Mexican cinema of the 1970s in films such as Canoa (1976), Las poquianchis (1976), Cadena perpetua (1979), Los Albañiles (1981), La Güera Rodriguez (1982), among others.
He has won multiple awards as a theater director with the stagings of: La Celestina, A Midsummer Night’s Dream, King Lear, Hamlet, and Autumn Sonata, to name a few. He has directed telenovelas for 40 years, achieving great success with Volver a empezar, Soñadoras, Amigas y rivales, Las vía del amor, and Soy tu dueña, among many others. He has returned to his role as a film actor with: Mexican Gangster (2014) and Impossible Things (2021), directed by Ernesto Contreras.
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
NICOLÁS GUZMÁN – Actor
Born in Xalapa, Veracruz, he studied Fine Arts at the Universidad Veracruzana (2001-2005).
His artistic activity encompasses Painting, Sculpture, Performance, Installation, Graphic Arts, Photography, and Video, with a focus on the nature of art and the limits of materials and formats. Guzmán has presented solo exhibitions at the Rufino Tamayo Museum of Pre-Hispanic Art in Oaxaca, the Museum of Mexico City, the Chao Galpão Gallery in Brazil, and Spike Print Studio in England, among others.
He has participated in group exhibitions at Galería Nueva in Madrid, the San Agustín Arts Center in Oaxaca, and the Tokyo University of Arts and Music. His artist residencies include the USA, Cambodia, England, Spain, and Mexico. He has exhibited at international fairs such as Bloom, Zona Maco, and Christie’s Multiplied, and in collections at the IAGO and José Luis Cuevas Museum.
NICOLÁS GUZMÁN
Actor
Born in Xalapa, Veracruz, he studied Fine Arts at the Universidad Veracruzana (2001-2005).
His artistic activity encompasses Painting, Sculpture, Performance, Installation, Graphic Arts, Photography, and Video, with a focus on the nature of art and the limits of materials and formats. Guzmán has presented solo exhibitions at the Rufino Tamayo Museum of Pre-Hispanic Art in Oaxaca, the Museum of Mexico City, the Chao Galpão Gallery in Brazil, and Spike Print Studio in England, among others.
He has participated in group exhibitions at Galería Nueva in Madrid, the San Agustín Arts Center in Oaxaca, and the Tokyo University of Arts and Music. His artist residencies include the USA, Cambodia, England, Spain, and Mexico. He has exhibited at international fairs such as Bloom, Zona Maco, and Christie’s Multiplied, and in collections at the IAGO and José Luis Cuevas Museum.
JOSUÉ DE LOS RÍOS ARZATE – Actor
A multifaceted creator, trained in film and television, specializing in Creative Code for Animation and Video. His career spans Visual Arts, Music, Photography, Clothing Design, Art Production, and Video Art. He has exhibited his work at the Design Museum in London and COMA Galleries. He served as editor and contributed oil painting animation to the film El sueño de los tordos (The Dream of the Thrushes). He currently works as an actor in El tiempo lo cura (Time Heals.)
His creativity flourishes by creating without conceptual restrictions and exploring complex ideas. He focuses on balancing concepts and resources to achieve high quality in his projects, despite apparent limitations. In his role as Assistant Director, he integrates creativity and organization.
JOSUÉ DE LOS RÍOS ARZATE Actor
A multifaceted creator, trained in film and television, specializing in Creative Code for Animation and Video. His career spans Visual Arts, Music, Photography, Clothing Design, Art Production, and Video Art. He has exhibited his work at the Design Museum in London and COMA Galleries. He served as editor and contributed oil painting animation to the film El sueño de los tordos (The Dream of the Thrushes). He currently works as an actor in El tiempo lo cura (Time Heals.)
His creativity flourishes by creating without conceptual restrictions and exploring complex ideas. He focuses on balancing concepts and resources to achieve high quality in his projects, despite apparent limitations. In his role as Assistant Director, he integrates creativity and organization.
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
GERMÁN BRINGAS – Actor/Musician
Born in Mexico City in 1964, he is a multi-instrumentalist on Piano, Saxophone, Trumpet, and self-made Tank Drums. He specializes in free improvisation and free jazz. He is a composer, producer, and founder of the independent label Jazzorca Records (since 1991,with over 73 productions) and the Café Jazzorca Forum (since 1993).
He has played, collaborated, and recorded with internationally renowned musicians such as John Zorn, Evan Parker, Fred Frith, Tristan Honsinger, Chris Cutler, Akira Sakata, Eliott Levin, Frode Gjerstad, Tatsuya Yoshida, Ingebirt Hacker Flaten, Pal Nilsen-Love, Tony Malaby, and Jarret Gilgore.
He has also performed in cities such as New York, Berlin, Turin, Milan, Hamburg, Trondheim, and Paris. He has composed for several ensembles in particular: Defragmentation Zone with Humpback Whales. His work has been characterized by more than 38 years of practice and the development of his own techniques for perceptual expansion linked to Improvisation.
GERMÁN BRINGAS Actor/Musician
Born in Mexico City in 1964, he is a multi-instrumentalist on Piano, Saxophone, Trumpet, and self-made Tank Drums. He specializes in free improvisation and free jazz. He is a composer, producer, and founder of the independent label Jazzorca Records (since 1991,with over 73 productions) and the Café Jazzorca Forum (since 1993).
He has played, collaborated, and recorded with internationally renowned musicians such as John Zorn, Evan Parker, Fred Frith, Tristan Honsinger, Chris Cutler, Akira Sakata, Eliott Levin, Frode Gjerstad, Tatsuya Yoshida, Ingebirt Hacker Flaten, Pal Nilsen-Love, Tony Malaby, and Jarret Gilgore.
He has also performed in cities such as New York, Berlin, Turin, Milan, Hamburg, Trondheim, and Paris. He has composed for several ensembles in particular: Defragmentation Zone with Humpback Whales. His work has been characterized by more than 38 years of practice and the development of his own techniques for perceptual expansion linked to Improvisation.
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
SONIA RANGEL – Production Design/Actress
Her work is characterized by the dialogue between reality and an alternate universe. From an interdisciplinary and experimental perspective, her works explore the experience of Mexican women in an absurd context. Initially, she used Collage, Intervention, and Painting techniques to explore the relationship between society and mysticism.
Currently, she focuses more on video art and digital collage, using repetition to express interest in symmetry and infinity. She documents social adventures and the melancholy of contemporary Mexico.
She has also been invited to act in films such as Las Plañideras and El sueño de los tordos. Since 2018, she has been managing group exhibitions in Plastic Arts, and since 2021, curating exhibitions and cultural events featuring contemporary Mexican artists at her Galería Cromática in the Condesa District.
SONIA RANGEL – Production Design/Actress
Her work is characterized by the dialogue between reality and an alternate universe. From an interdisciplinary and experimental perspective, her works explore the experience of Mexican women in an absurd context. Initially, she used Collage, Intervention, and Painting techniques to explore the relationship between society and mysticism.
Currently, she focuses more on video art and digital collage, using repetition to express interest in symmetry and infinity. She documents social adventures and the melancholy of contemporary Mexico.
She has also been invited to act in films such as Las Plañideras and El sueño de los tordos. Since 2018, she has been managing group exhibitions in Plastic Arts, and since 2021, curating exhibitions and cultural events featuring contemporary Mexican artists at her Galería Cromática in the Condesa District.
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
INTERVIEW
INTERVIEW
Juan, how about telling us a little about the initial inspiration for the film?
The inspiration stems from a game that started with a TikTok we did at Chevy’s grandfather’s house. One of my bandmates in Los Rotoz.had a barbecue one night that went from normalcy to an abrupt change that enveloped us in a mysterious atmosphere. The idea was born from the reaction to this sudden and odd change. I wanted to explore it further in an organic collaboration that we’ve always had as a creative team and as a band.
Can you tell us a little more about the collaboration with your band and the creation of the soundtrack?
Yes, it was something out of the ordinary since we not only scored the film but also wrote and acted in it. The legendary Germán Bringas also contributed musically with saxophones and effects that added texture to the film; he’s a master at creating atmospheres.
Juan, how about telling us a little about the initial inspiration for the film?
The inspiration stems from a game that started with a TikTok we did at Chevy’s grandfather’s house. One of my bandmates in Los Rotoz.had a barbecue one night that went from normalcy to an abrupt change that enveloped us in a mysterious atmosphere. The idea was born from the reaction to this sudden and odd change. I wanted to explore it further in an organic collaboration that we’ve always had as a creative team and as a band.
Can you tell us a little more about the collaboration with your band and the creation of the soundtrack?
Yes, it was something out of the ordinary since we not only scored the film but also wrote and acted in it. The legendary Germán Bringas also contributed musically with saxophones and effects that added texture to the film; he’s a master at creating atmospheres.
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
Speaking of Bringas, what can you tell us about his character in the film?
He’s a kind of mad philosopher obsessed with time who warns one of the main characters about the temporal prison he lives in. His approach to music is very free and spontaneous, and that fits perfectly with the spirit of the film.
How is Bringas’s influence reflected in the film?
He definitely had a big influence on how we resolved certain scenes. Bringas, for me, is a legend. His music is a kind of spiritual legacy. He’s one of those influential musicians who has inspired many artists in Mexico. Because his music is so experimental, it pushed us, as well, to improvise more than usual. The final scenes, especially, have an improvisational quality that brings a unique energy to the narrative.
Speaking of Bringas, what can you tell us about his character in the film?
He’s a kind of mad philosopher obsessed with time who warns one of the main characters about the temporal prison he lives in. His approach to music is very free and spontaneous, and that fits perfectly with the spirit of the film.
How is Bringas’s influence reflected in the film?
He definitely had a big influence on how we resolved certain scenes. Bringas, for me, is a legend. His music is a kind of spiritual legacy. He’s one of those influential musicians who has inspired many artists in Mexico. Because his music is so experimental, it pushed us, as well, to improvise more than usual. The final scenes, especially, have an improvisational quality that brings a unique energy to the narrative.
Filmada en una antigua casa familiar a punto de ser demolida, El tiempo lo cura nos recuerda la
importancia de la memoria como única fuente de cambio en una era donde la historia se repite
continuamente.
EL TIEMPO LO CURA JUEGA AJEDREZ SOBRE UN RELOJ
What were your main visual and narrative influences for the film?
Perhaps not a particular influence from anyone or anything, but imagry that had dreamlike and abstract tones that would captivate visually. I gravitate toward the chaotic and the untidy, like the house where the film takes place. I also sought to incorporate elements of comedy that allowed me to play with different tones throughout the narrative. There are moments when the atmosphere is serious and surreal, while at other times, humor emerges spontaneously, creating a contrast that explores the duality between the absurd and the profound.
What would you say is the central message of the film?
It revolves around the relationship between Time and Free Will. It explores how the characters try to exert control over their destinies only to discover they are trapped in a cycle that is difficult to escape. The film reflects on the impossibility of mastering time and how past decisions, even if they are attempted to be changed, have inevitable consequences. It is a meditation on fate, punishment, and the constant human struggle to free ourselves from the invisible bonds of time.
Was it difficult to work with a non-linear narrative?
It was a challenge, even though we already had a clear idea of the loops and keys that would solve the game the house imposes. The process was intuitive and allowed us to explore the nature of time and its relationship among the characters. The idea of an endless cycle remained the main focus, as if we were in a chess game where progress depended on solving each new problem.
What were your main visual and narrative influences for the film?
Perhaps not a particular influence from anyone or anything, but imagry that had dreamlike and abstract tones that would captivate visually. I gravitate toward the chaotic and the untidy, like the house where the film takes place. I also sought to incorporate elements of comedy that allowed me to play with different tones throughout the narrative. There are moments when the atmosphere is serious and surreal, while at other times, humor emerges spontaneously, creating a contrast that explores the duality between the absurd and the profound.
What would you say is the central message of the film?
It revolves around the relationship between Time and Free Will. It explores how the characters try to exert control over their destinies only to discover they are trapped in a cycle that is difficult to escape. The film reflects on the impossibility of mastering time and how past decisions, even if they are attempted to be changed, have inevitable consequences. It is a meditation on fate, punishment, and the constant human struggle to free ourselves from the invisible bonds of time.
¿Cuáles fueron tus principales influencias a nivel visual y narrativo para la película?
Tal vez no una influencia particular de alguien o algo pero que sí tuviera un tono onírico y abstracto, además de ser visualmente cautivadora. Me inclino por lo caótico y lo descuidado, como la casa donde se desarrolla la película. También busqué incorporar elementos de comedia que me permitieron jugar con distintos tonos a lo largo de la narrativa. Hay momentos en los que la atmósfera es seria y surrealista, mientras que en otros el humor surge de manera espontánea, generando un contraste que explora la dualidad entre lo absurdo y lo profundo.
¿Cuál dirías que es el mensaje central de la película?
Gira en torno a la relación entre el tiempo y el libre albedrío. Explora cómo los personajes intentan ejercer control sobre sus destinos, solo para descubrir que están atrapados en un ciclo del que es difícil escapar. La película reflexiona sobre la imposibilidad de dominar el tiempo y cómo las decisiones pasadas, aunque se intenten cambiar, tienen consecuencias inevitables. Es una meditación sobre el destino, el castigo y la constante lucha humana por liberarse de las ataduras invisibles que el tiempo impone.
¿Fue complicado trabajar una narrativa no lineal?
Fue un reto aunque ya teníamos clara la idea central de los bucles y las llaves que resolverían el juego que la casa impone. El proceso fue intuitivo y nos permitió explorar la naturaleza del tiempo y su relación con los personajes. La idea del ciclo interminable se mantuvo como el eje principal, como si estuviéramos dentro de un juego de ajedrez en el que avanzar dependía de resolver cada nuevo problema.
Was it difficult to work with a non-linear narrative?
It was a challenge, even though we already had a clear idea of the loops and keys that would solve the game the house imposes. The process was intuitive and allowed us to explore the nature of time and its relationship among the characters. The idea of an endless cycle remained the main focus, as if we were in a chess game where progress depended on solving each new problem.
How did you develop the characters’ personalities?
The characters are fictional versions of ourselves. They are trapped by the house, which subtly affects their actions. Although throughout the story they try to make decisions and escape, something in the environment limits them, creating in them the feeling that they lack full control. The house, without fully revealing the nature of its power, keeps them trapped in a cycle, generating a constant struggle between their will and the forces that surround them.
How did you integrate the band’s music into the film?
The music captures the feeling of being trapped in time, guiding the film’s narrative flow with changes in tone and level. It’s through the soundtrack that the transitions are constructed and the experience is given coherence, making music an essential component in immersing the viewer in the cycle from which the characters cannot escape.
What do you hope audiences take away from the film?
I want the audience to feel swept away by time and rhythm. I´d like the viewer to be immersed in a dreamlike atmosphere, which, even if it not controlled, can also be deeply fascinating. I hope logic vanishes and the uncontrollable comes to life.
¿Cómo trabajaron las personalidades de los personajes?
Los personajes son versiones ficticias de nosotros mismos. Están atrapados por la casa que afecta de manera sutil sus acciones. Aunque a lo largo de la historia intentan tomar decisiones y escapar, algo en el entorno los limita creando la sensación de que no tienen pleno control. La casa, sin revelar completamente la naturaleza de su poder, los mantiene atrapados en ciclo generando una constante lucha entre su voluntad y las fuerzas que los rodean.
¿Cómo integraron la música de la banda en la película?
La música captura la sensación de estar atrapados en el tiempo, guiando el flujo narrativo de la película con los cambios de tono y nivel. Es a través del soundtrack que se construyen las transiciones y se le da coherencia a la experiencia, convirtiendo a la música en un componente esencial para sumergir al espectador en el ciclo del que los personajes no pueden escapar.
¿Qué esperas que el público se lleve al ver la película?
What do you hope audiences take away from the film?
I want the audience to feel swept away by time and rhythm. I´d like the viewer to be immersed in a dreamlike atmosphere, which, even if it not controlled, can also be deeply fascinating. I hope logic vanishes and the uncontrollable comes to life
TECHNICAL DETAILS
Time Heals
Science Fiction
Spanish
70 min
4K 16:9 Dolby Atmos
Mexico 2025
TECHNICAL DETAILS
Time Heals
Science Fiction
Spanish
70 min
4K 16:9 Dolby Atmos
Mexico 2025
CONTACT
Rodrigo Díaz
Tel. +52 7298020744
rodrigorv@gmail.com
CONTACT
Rodrigo Díaz
Tel. +52 7298020744
rodrigorv@gmail.com