Samuel Noyola, the most inspired poet from his generation, suddenly dissappears, leaving behind a series of traces from his obssesive life as an artist, guerrilla, and endless wanderer. This key aspects lead this search, which is as personal as it is frantic, from a misterious character from the end of the XX century.
Diego Enrique Osorno is a journalist, writer, and screenwriter. Author of nine chronicle books on rebellion, power and justice in 21st century Mexico, among which stand out "A cowboy silently crosses the border" and "Slim", political biography of the richest Mexican in the world. As director and screenwriter, he has participated in a dozen productions, receiving national and international awards such as José Rovirosa from UNAM, India Catalina from Cartagena de Indias and Ariel from the Mexican Academy of Motion Picture Arts and Sciences. He has been a fellow of the Pullitzer Center and the Rockefeller Foundation. He was also named Truth Commissioner in Oaxaca and received recognition from the World Justice Project for his work against impunity. It is the National Journalism Award. He recently directed 1994, an original Netflix series that portrays the political crisis of the 1990s that defines Mexico today.
“It is an agil and well done documentary, that uncovers a the dazzling personality, profane and sensitive from Noyola, who colaborated in magazines such as Vuelta or Letras Libres. He was as shameless as to dedicate a poem to the blue eyes of his mentor, Octavio Paz.”
– Hugo Lara: CorreCámara
“Diego Osorno creates a poetic ode to the missing Samuel Noyola, as project that took him more than a decade.”
– El Informador
«Vaquero de mediodía, de Diego Enrique Osorno [es un vaso comunicante] de la evocación nostálgica y reivindicadora de personajes anónimos o incomprendidos; también maneras intimistas y novedosas de una recuperación de la memoria colectiva»
“Midday Cowboy, by Diego Enrique Osorno [is a communicating glass] from the nostalgic and vindicaiting evocation of anonymoys and incomprehended characters. It is also shows new ways to gather collective memory”
-Carlos Bonfil: La Jornada