La Ciudad Que Nos Olvida (The City That Forgets Us)
New York City, New York | Film Short
Adventure, Drama
A young Mexican immigrant arrives in NYC looking for his brother, but a feverish-dream leads him to question what he's truly looking for. This film explores themes of identity and belonging through the lens of migration and chaos.
La Ciudad Que Nos Olvida (The City That Forgets Us)
New York City, New York | Film Short
Adventure, Drama
1 Campaigns | New York, United States
20 supporters | followers
Enter the amount you would like to pledge
$2,395
Goal: $20,000 for production
A young Mexican immigrant arrives in NYC looking for his brother, but a feverish-dream leads him to question what he's truly looking for. This film explores themes of identity and belonging through the lens of migration and chaos.
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
Braulio, a 20-year-old Mexican immigrant, arrives in New York with nothing but a backpack, determined to find the brother he hasn’t seen in over 15 years. After trusting the wrong person, he is robbed, injured, and stripped of everything he brought with him, left alone with no money and no way back. Meanwhile, Antelmo, a food delivery driver, pushes himself to earn enough money for a set of documents that could finally give him a way out of his life.
As the day unfolds, Braulio abandons his search and begins to survive. In a fevered state, he starts to question whether he is searching for his brother or for a way to start over, while Antelmo is kept in place by a system he cannot outrun, but is reminded that something within him still burns. In a final encounter on a subway platform, the two stand face to face, revealing a shared past, and a cycle that continues.
BRAULIO
Braulio, 20, a Mexican immigrant from Puebla who has never left his hometown, decides to cross the border illegally with just a backpack and a little money. He is a shrewd and determined young man, committed to finding his brother. He tends to stay in the background, avoiding attention due to his vulnerable legal status. He moves through the world carefully, always observing, always adapting.
ANTELMO
Antelmo, Mexican, early 40s, crossed the border two decades ago chasing opportunity in New York, now working as a food delivery driver. Years of solitude and labor have worn him down, but beneath his quiet exterior lies the weight of resilience and sacrifice. He is a man caught between worlds, rooted in a city that never truly embraced him, yet unable to return to the home he left behind.
The film’s visual language is built on duality, two lives unfolding in parallel, moving through the same city under entirely different conditions. Braulio’s perspective captures the disorientation of arrival, often framed as small and swallowed by the scale of the city. In contrast, Antelmo’s world feels compressed and repetitive, defined by a routine that leaves little room to breathe.
The image is defined by contrast: movement and stillness, openness and confinement, chaos and repetition. Each frame moves at a different rhythm. One, urgent and relentless, the other, slower and more observant, reflecting two distinct ways of moving through the same city.
The split screen allows these two realities to coexist, placing them in constant dialogue without ever fully aligning. The camera remains observational, maintaining a third-person distance that emphasizes how both characters are shaped by forces beyond their control. One, overwhelmed by a world he does not yet understand, the other, confined within one he cannot escape. As the story progresses, both frames begin to converge, ultimately collapsing into a single shared space.
La Ciudad Que Nos Olvida is the film that has brought me closest to the thoughts and emotions I've carried with me over the past five years. It's born from the conversations I've had with my friends and fellow immigrants who struggle to build a life in a place that rarely makes room for them. It's there when I think about my father, who made work his priority so I could have the opportunity of dreaming in a different language. And it's present in every person who leaves home believing that somewhere else, life might finally begin.
Behind every foreigner is someone who arrived carrying dreams, fears, and the hope of building a better life.
I want to make this film because I know what it feels like to live between hope and uncertainty. To go to bed inspired by the future you're trying to build, and wake up wondering if there's really a place for you in it.
This film is my way of making sense of it.
In recent years people whose circumstances are out of their control are now being targeted specifically by their nationality, the color of their skin, and economic background.
The political conversation continues to ask, "Should these people be here?" We believe it's time to ask a different question: "What happens after they arrive?"
But this film is not simply about work. It is about dignity.
This film brings us closer to a deeper understanding of our neighbors and to urgently bring the conversation back to where it belongs: the people themselves.
Due to the narrative structure of the film, we are technically producing two films at the same time. The split-screen format will follow both stories simultaneously, giving the audience an intimate view into both characters' stories. However, this means that our shooting plan will need to accommodate both of these parallel stories, each with its own characters and locations. We are aiming to shoot principal photography in 6 days with a crew of approximately 15 people.
TOTAL BUDGET: $37,627.90
All around, everything included.
We are looking for $20,000.00 USD, which will be the minimum for us to fulfill this project.
This budget breaks down as follows:
CAST and CREW: $7,855.00
Includes rates for CAST and CREW during pre-production and principal photography.
FOOD: $6,520.00
Total for 6 shooting days, this allows us to make sure our crew is healthy and safe, and always hydrated and fed. .
TRANSPORTATION: $1,775.00
Transportation costs for this film let us get everyone around the city safely and on time.
LOCATIONS: $1,550.00
We want to reward the businesses that allow us to use their spaces and help us paint a colorful picture of the city.
POST-PRODUCTION: $2,300.00
Total rates for Editor, Colorist, Sound Design, and finishing (film festivals require this!)
Not included in our wishlist:
Pre-production expenses, makeup and wardrobe tests, camera and gear prep days, production wrap fees, EMERGENCY funds, and marketing.
SHARING AND PLEDGING!
Your contributions will get us closer to our goal of completing this film, and no contribution is too small!
Even sharing with your peers, family, network, friends, coworkers, colleagues, etc, would be incredibly helpful for our campaign.
If you have any connections to worker's rights organizations, or immigration awareness organizations, please reach out or share this project with them!
Please visit our Social Media profile @laciudadquenosolvida to connect with us and join us on this journey. We have more exclusive content coming soon :D
My father was the first in my family to go to college and build a life beyond his circumstances. That sense of pushing forward, of becoming something more despite limited options, is something I have always carried with me. I used to believe that with enough effort, I could become the person I wanted to be, but as time passed, I realized the path is rarely linear or within our control.
Parallel to this realization, migrating to a new country reshaped my sense of identity in ways I could not anticipate. Being away from home and living under constant pressure to find work, to sustain myself, and to remain, forced me to let go of the person I thought I would become. The city demands an impossible pace, personal sacrifices, sleep deprivation. The city in this film is not just a setting, but a force that shapes, restricts, and defines the lives within it.
This is the film I chose to begin my filmmaking career with, because this is the story that has shaped me and brought me to where I am today.
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
CREW
Costs $7,855
Paying our crew members for their labor and time is crucial! With your support, we can compensate them for all their time and effort.
Transportation
Costs $1,775
Due to the nature of the script, we will be in Brooklyn finding our shooting spots. This item ensures efficient and safe travel for crew.
Food
Costs $6,520
We need to feed our crew of 20 people for our 5-6 shooting days. With this amount we make sure everyone is fed, hydrated, and healthy.
Location Fees
Costs $1,550
Our story takes place all around Brooklyn, so we want to offer a fee to all the business owners kind enough to lend us their space.
Post-Production
Costs $2,300
With this portion we can properly edit, score, mix, and color grade the film! We want to make sure our team is compensated for their work.
Direct link:
Share this update!
About This Team
Fabián Palacios V.
Director/Writer/Producer
Fabian Palacios V. is an award-winning Mexican filmmaker whose work reflects a multicultural upbringing between Mexico, Germany, and the United States. His films have been recognized across the United States, Europe, and Asia, exploring themes of morality, identity, and social justice. Known for a naturalistic yet visceral style, Fabián creates emotionally resonant stories that transcend borders. His short film Azar won the Audience Award at the Berlin Lift-Off Film Festival and the Jury Prize at the Tokyo Lift-Off Film Festival, cementing his reputation as a bold new voice in international cinema.
Alejandro Cortés
Cinematographer/Producer
Alejandro is an ASC Award-winning cinematographer based in New York City with over thirteen years of experience in narrative, documentary, and commercial work. He recently shot the documentary Black Girls Play: The Story of Handgames, winner of Best Documentary Short at Tribeca Film Festival 2023 and shortlisted for the 2024 Academy Awards. Recognized internationally with multiple awards, his work is marked by sensitivity and passion for telling powerful humanitarian stories that illuminate urgent social issues.
Fernanda García-Rojas
Creative Producer
Fernanda is a trilingual Mexican producer with a background in international business and digital strategy. Based in Münich, Germany, she brings over seven years of experience in project management, marketing, and cross-cultural collaboration to her work in film. With a strong foundation in data-driven strategies and creative development, she specializes in building and executing projects that balance artistic vision with strategic growth. Her multicultural background and professional versatility position her as a dynamic producer dedicated to fostering impactful, globally resonant stories.
Isabella Granada
Producer
Isabella Granada is a Colombian-born filmmaker building her career in New York City. She began her path in the industry working in camera, developing a strong technical foundation and on-set perspective across a range of projects. She has produced 10+ projects, and worked on four feature films, as well as over two hundred short films and narrative projects. Her experience and background in film drive her to bring a skilled perspective into her productions.
Sarah Simpson
Producer
Sarah Simpson is a New York-based producer with a degree in film production and extensive experience across the space. She is currently producing the documentary "Midnight in the War Room", set to premiere at this year's Black Hat Convention in Las Vegas. She directed and produced "I Guess That's It", a short film that premiered at New York Shorts International Film Festival. Her producing work spans festival-premiered short films, over 20 music videos across diverse genres, and creative marketing campaigns. Her work moves fluidly between branded storytelling and narrative filmmaking.
Kaarlo Luntta
Producer
Kaarlo Luntta is a New York-based freelance line producer and filmmaker. He is best known for producing commercial video campaigns and short films, such as the short Dad Bod (2024) and corporate projects for brands like Charles Schwab.
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
Braulio, a 20-year-old Mexican immigrant, arrives in New York with nothing but a backpack, determined to find the brother he hasn’t seen in over 15 years. After trusting the wrong person, he is robbed, injured, and stripped of everything he brought with him, left alone with no money and no way back. Meanwhile, Antelmo, a food delivery driver, pushes himself to earn enough money for a set of documents that could finally give him a way out of his life.
As the day unfolds, Braulio abandons his search and begins to survive. In a fevered state, he starts to question whether he is searching for his brother or for a way to start over, while Antelmo is kept in place by a system he cannot outrun, but is reminded that something within him still burns. In a final encounter on a subway platform, the two stand face to face, revealing a shared past, and a cycle that continues.
BRAULIO
Braulio, 20, a Mexican immigrant from Puebla who has never left his hometown, decides to cross the border illegally with just a backpack and a little money. He is a shrewd and determined young man, committed to finding his brother. He tends to stay in the background, avoiding attention due to his vulnerable legal status. He moves through the world carefully, always observing, always adapting.
ANTELMO
Antelmo, Mexican, early 40s, crossed the border two decades ago chasing opportunity in New York, now working as a food delivery driver. Years of solitude and labor have worn him down, but beneath his quiet exterior lies the weight of resilience and sacrifice. He is a man caught between worlds, rooted in a city that never truly embraced him, yet unable to return to the home he left behind.
The film’s visual language is built on duality, two lives unfolding in parallel, moving through the same city under entirely different conditions. Braulio’s perspective captures the disorientation of arrival, often framed as small and swallowed by the scale of the city. In contrast, Antelmo’s world feels compressed and repetitive, defined by a routine that leaves little room to breathe.
The image is defined by contrast: movement and stillness, openness and confinement, chaos and repetition. Each frame moves at a different rhythm. One, urgent and relentless, the other, slower and more observant, reflecting two distinct ways of moving through the same city.
The split screen allows these two realities to coexist, placing them in constant dialogue without ever fully aligning. The camera remains observational, maintaining a third-person distance that emphasizes how both characters are shaped by forces beyond their control. One, overwhelmed by a world he does not yet understand, the other, confined within one he cannot escape. As the story progresses, both frames begin to converge, ultimately collapsing into a single shared space.
La Ciudad Que Nos Olvida is the film that has brought me closest to the thoughts and emotions I've carried with me over the past five years. It's born from the conversations I've had with my friends and fellow immigrants who struggle to build a life in a place that rarely makes room for them. It's there when I think about my father, who made work his priority so I could have the opportunity of dreaming in a different language. And it's present in every person who leaves home believing that somewhere else, life might finally begin.
Behind every foreigner is someone who arrived carrying dreams, fears, and the hope of building a better life.
I want to make this film because I know what it feels like to live between hope and uncertainty. To go to bed inspired by the future you're trying to build, and wake up wondering if there's really a place for you in it.
This film is my way of making sense of it.
In recent years people whose circumstances are out of their control are now being targeted specifically by their nationality, the color of their skin, and economic background.
The political conversation continues to ask, "Should these people be here?" We believe it's time to ask a different question: "What happens after they arrive?"
But this film is not simply about work. It is about dignity.
This film brings us closer to a deeper understanding of our neighbors and to urgently bring the conversation back to where it belongs: the people themselves.
Due to the narrative structure of the film, we are technically producing two films at the same time. The split-screen format will follow both stories simultaneously, giving the audience an intimate view into both characters' stories. However, this means that our shooting plan will need to accommodate both of these parallel stories, each with its own characters and locations. We are aiming to shoot principal photography in 6 days with a crew of approximately 15 people.
TOTAL BUDGET: $37,627.90
All around, everything included.
We are looking for $20,000.00 USD, which will be the minimum for us to fulfill this project.
This budget breaks down as follows:
CAST and CREW: $7,855.00
Includes rates for CAST and CREW during pre-production and principal photography.
FOOD: $6,520.00
Total for 6 shooting days, this allows us to make sure our crew is healthy and safe, and always hydrated and fed. .
TRANSPORTATION: $1,775.00
Transportation costs for this film let us get everyone around the city safely and on time.
LOCATIONS: $1,550.00
We want to reward the businesses that allow us to use their spaces and help us paint a colorful picture of the city.
POST-PRODUCTION: $2,300.00
Total rates for Editor, Colorist, Sound Design, and finishing (film festivals require this!)
Not included in our wishlist:
Pre-production expenses, makeup and wardrobe tests, camera and gear prep days, production wrap fees, EMERGENCY funds, and marketing.
SHARING AND PLEDGING!
Your contributions will get us closer to our goal of completing this film, and no contribution is too small!
Even sharing with your peers, family, network, friends, coworkers, colleagues, etc, would be incredibly helpful for our campaign.
If you have any connections to worker's rights organizations, or immigration awareness organizations, please reach out or share this project with them!
Please visit our Social Media profile @laciudadquenosolvida to connect with us and join us on this journey. We have more exclusive content coming soon :D
My father was the first in my family to go to college and build a life beyond his circumstances. That sense of pushing forward, of becoming something more despite limited options, is something I have always carried with me. I used to believe that with enough effort, I could become the person I wanted to be, but as time passed, I realized the path is rarely linear or within our control.
Parallel to this realization, migrating to a new country reshaped my sense of identity in ways I could not anticipate. Being away from home and living under constant pressure to find work, to sustain myself, and to remain, forced me to let go of the person I thought I would become. The city demands an impossible pace, personal sacrifices, sleep deprivation. The city in this film is not just a setting, but a force that shapes, restricts, and defines the lives within it.
This is the film I chose to begin my filmmaking career with, because this is the story that has shaped me and brought me to where I am today.
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
CREW
Costs $7,855
Paying our crew members for their labor and time is crucial! With your support, we can compensate them for all their time and effort.
Transportation
Costs $1,775
Due to the nature of the script, we will be in Brooklyn finding our shooting spots. This item ensures efficient and safe travel for crew.
Food
Costs $6,520
We need to feed our crew of 20 people for our 5-6 shooting days. With this amount we make sure everyone is fed, hydrated, and healthy.
Location Fees
Costs $1,550
Our story takes place all around Brooklyn, so we want to offer a fee to all the business owners kind enough to lend us their space.
Post-Production
Costs $2,300
With this portion we can properly edit, score, mix, and color grade the film! We want to make sure our team is compensated for their work.
Direct link:
Share this update!
About This Team
Fabián Palacios V.
Director/Writer/Producer
Fabian Palacios V. is an award-winning Mexican filmmaker whose work reflects a multicultural upbringing between Mexico, Germany, and the United States. His films have been recognized across the United States, Europe, and Asia, exploring themes of morality, identity, and social justice. Known for a naturalistic yet visceral style, Fabián creates emotionally resonant stories that transcend borders. His short film Azar won the Audience Award at the Berlin Lift-Off Film Festival and the Jury Prize at the Tokyo Lift-Off Film Festival, cementing his reputation as a bold new voice in international cinema.
Alejandro Cortés
Cinematographer/Producer
Alejandro is an ASC Award-winning cinematographer based in New York City with over thirteen years of experience in narrative, documentary, and commercial work. He recently shot the documentary Black Girls Play: The Story of Handgames, winner of Best Documentary Short at Tribeca Film Festival 2023 and shortlisted for the 2024 Academy Awards. Recognized internationally with multiple awards, his work is marked by sensitivity and passion for telling powerful humanitarian stories that illuminate urgent social issues.
Fernanda García-Rojas
Creative Producer
Fernanda is a trilingual Mexican producer with a background in international business and digital strategy. Based in Münich, Germany, she brings over seven years of experience in project management, marketing, and cross-cultural collaboration to her work in film. With a strong foundation in data-driven strategies and creative development, she specializes in building and executing projects that balance artistic vision with strategic growth. Her multicultural background and professional versatility position her as a dynamic producer dedicated to fostering impactful, globally resonant stories.
Isabella Granada
Producer
Isabella Granada is a Colombian-born filmmaker building her career in New York City. She began her path in the industry working in camera, developing a strong technical foundation and on-set perspective across a range of projects. She has produced 10+ projects, and worked on four feature films, as well as over two hundred short films and narrative projects. Her experience and background in film drive her to bring a skilled perspective into her productions.
Sarah Simpson
Producer
Sarah Simpson is a New York-based producer with a degree in film production and extensive experience across the space. She is currently producing the documentary "Midnight in the War Room", set to premiere at this year's Black Hat Convention in Las Vegas. She directed and produced "I Guess That's It", a short film that premiered at New York Shorts International Film Festival. Her producing work spans festival-premiered short films, over 20 music videos across diverse genres, and creative marketing campaigns. Her work moves fluidly between branded storytelling and narrative filmmaking.
Kaarlo Luntta
Producer
Kaarlo Luntta is a New York-based freelance line producer and filmmaker. He is best known for producing commercial video campaigns and short films, such as the short Dad Bod (2024) and corporate projects for brands like Charles Schwab.