Natalia Almada is a 2012 MacArthur “Genius Award” Fellow and recipient of the 2009 Sundance Documentary Directing Award for her film El General. Her following film, El Velador (2011), about violence in Mexico, premiered at New Directors/New Films, and the Directors' Fortnight section of the Cannes Film Festival. Her previous credits include All Water Has a Perfect Memory (2002), an experimental short film that premiered at Sundance, and Al Otro Lado, her 2005 award-winning debut feature documentary on immigration, drug trafficking, and corrido music. Almada’s films have screened in film festivals, on the award-winning public television series P.O.V, and at museums around the world including MoMA, The Museé d’Art Moderne in Paris, the Whitney Biennial and Documenta13. Almada has received the Guggenheim, USA Artists, and Alpert Fellowships, the Chicken & Egg Pictures Breakthrough Filmmaker Award, and has attended residencies at Cannes Film Festival’s Cinefondation, The MacDowell Colony, and The Headlands Center for the Arts. She graduated with a master's in Fine Arts in photography from the Rhode Island School of Design and currently lives between Mexico City and San Francisco.
Selected as one of the best films of the year (Amy Taubin, Artforum), and winner of the Golden Gate Award for Best Film at the San Francisco Film Festival, Everything Else stars Academy Award–nominated actress Adriana Barraza (Amores Perros, Babel) as Doña Flor, a 63-year-old bureaucrat living in Mexico City, who has worked in the same government office for 35 years. When she loses the only living creature she cares for, she goes into crisis. With a keen directorial eye, impeccable framing, Natalia Almada's debut fiction film explores the interior life of Doña Flor as she awakens from her bureaucratic malaise and yearns to become visible again. Inspired by Hannah Arendt’s idea that bureaucratic dehumanization is a brutal form of violence, the story ultimately becomes a mesmerizing contemplation on solitude.
“The simplicity of the filmmaking and the subtlety of observation in Almada’s first fictional narrative allow this double portrait of a person (a middle-aged female government clerk) and a place (Mexico City) to emerge in all its personal, social, and emotional complexity.” —Amy Taubin, Artforum
“Adriana Barraza gives a masterful performance.” —Eric Kohn, IndieWire