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Alamar (2009) More at IMDbPro »

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Alamar -- Before their inevitable farewell, a young man of Mayan roots and Natan, his half Italian son, embark on an epic journey into the open sea.


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7.3/10   1,961 votes »
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Down 41% in popularity this week. See why on IMDbPro.
Pedro González-Rubio (screenplay)
View company contact information for Alamar on IMDbPro.
Release Date:
14 July 2010 (USA) See more »
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. | Add synopsis »
Plot Keywords:
10 wins & 7 nominations See more »
User Reviews:
Alamar: Deeply Humbling See more (25 total) »


  (in credits order)

Directed by
Pedro González-Rubio 
Writing credits
(in alphabetical order)
Pedro González-Rubio  screenplay

Produced by
Pedro González-Rubio .... producer
Jaime Romandia .... producer
Original Music by
Diego Benlliure 
Cinematography by
Pedro González-Rubio 
Film Editing by
Pedro González-Rubio 
Production Design by
Pedro González-Rubio 
Production Management
Øyvind Stiauren .... post-production supervisor
Joakim Ziegler .... post-production supervisor
Sound Department
Manuel Carranza .... sound recordist
Omar Juárez Espino .... dialogue editor (as Omar Juarez)
Paulina Márquez .... sound producer
Adrián Reynoso .... sound editor
Emmanuel Romero .... sound designer
Rodolfo Romero .... supervising sound designer
Visual Effects by
Raul Luna .... visual effects artist
Rodrigo Santoyo .... visual effects artist
Camera and Electrical Department
David Torres Castilla .... underwater photographer
Alexis Zabe .... underwater photographer
Editorial Department
Edna Beatriz Cruz Miranda .... post-production assistant
Alan Durán Alatorre .... post-production assistant
Raul Luna .... color grading
Music Department
Uriel Esquenazi .... composer: theme music

Production CompaniesDistributorsOther Companies
  • Lupe Post  digital intermediate
  • Terminal  post-production supervision and services

Additional Details

Also Known As:
"To the Sea" - Canada (English title) (festival title), International (English title) (informal literal title)
See more »
73 min
Aspect Ratio:
1.78 : 1 See more »
Sound Mix:
Filming Locations:

Did You Know?

Jorge Machado is a trained ornithologist and canoe-tour guide in the Yucatan.See more »
Jorge:Me neither, I drink my coffee every night before going to bed
Matraca:Me too, when I'm with my buddies we always have coffee. But we drink it during daytime
Jorge:With the old guys
Matraca:With my buddies, the young guys
Jorge:What do you mean by young guys. Are they your age. If they are your age than that's not young anymore. You have lived many spring times, you're not that young any more
Matraca:Well, I'm still young at heart. I don't feel old...
Jorge:One thing is to feel and another is to be old
Matraca:- like some guys who feel old. Not me. The only thing that's old are the roads... and we're still on them
See more »


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1 out of 1 people found the following review useful.
Alamar: Deeply Humbling, 23 May 2011

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...

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