About me

My name is Angel Alonso Sarmiento, and I’m a sound professional working in film.

For over ten years I’ve worked across every stage of cinematic sound: on set as production sound mixer, and in the studio editing dialogue, designing soundscapes, or mixing the final picture.

Sound isn’t an accessory — it’s where atmosphere lives, where tension and emotion take root in ways image alone can’t sustain. A well-recorded set, clean dialogue, a design that guides the viewer without them noticing: that’s what builds the experience without anyone seeing it happen. That invisible work is what draws me in.

I trained at the International Film and TV School (EICTV) in Cuba, and before that studied Visual and Plastic Arts at the Universidad Nacional de Colombia — a combination that isn’t incidental. Thinking about sound through image, and image through sound, is part of how I understand this craft.

I’ve worked on more than 60 projects between shorts and features, from Colombia, the Dominican Republic, Cuba, Puerto Rico, Costa Rica, the United States and beyond. Documentary, fiction, filmed theater, commercial work. With Latin American and Anglo directors alike, on independent productions and internationally distributed films.

Among those credits, a few define the range of the work well: on Frida (dir. Carla Gutiérrez, Sundance 2024, Amazon MGM distribution) I worked on dialogue editing and voice-over; on Holy Beasts (dir. Israel Cárdenas and Laura Amelia Guzmán) I handled dialogue editing and effects; on La lengua del agua (dir. Jeissy Trompiz, a Dominican-Venezuelan co-production, currently in post-production) I’m leading sound supervision and the mix; and on Stewards of the Land (dir. JuanMa Pagán, Puerto Rico) I did the sound design. I’ve also collaborated on La opción cero (dir. Marcel Beltrán, Cuba), To the West, in Zapata (dir. David Bim I Mari, Cuba, additional sound design) and Holding Back the Tide (dir. Emily Packer, United States). In short form, Suicide by Sunlight (dir. Nikyatu Jusu) premiered at Sundance 2019 — the director would later win the Grand Jury Prize at Sundance 2022 with Nanny — alongside work like You Do Not Exist (dir. Dwayne LeBlanc), Fragmentos / Bosques / Unless We Dance (dir. Hanz Rippe and Fernanda Pineda, Colombia), and Casa Laurel (dir. Patricia Cruz, Puerto Rico).

In 2017, alongside a group of fellow EICTV sound graduates, I co-founded STEMS Group — an international film sound post-production project with a presence in Colombia, the Dominican Republic, and the United States. It started decentralized: specialized teams built around each project’s needs, working as a network across the continent.

In 2021, together with two partners, we incorporated STEMS Group SAS in Bogotá. Today the company has a 7.1 mixing stage, Pro Tools Ultimate, and a full post-production team. That lets me support projects not just as an independent professional, but also as an entry point to a complete team when a project calls for it.

I’ve been a member of the Colombian Association of Cinematographic Sound (ADSC) and I’m part of the Colombian Academy of Cinematographic Arts and Sciences (ACACC).