{
  "id": 17610410,
  "title": "Euphoric fans, grieving mothers: these photographs show a side to World Cup 2026 we didn't see on TV",
  "url": "https://urgent.news/2026/11/01/euphoric-fans-grieving-mothers-these-photographs-show-a-side-to-world",
  "topic": "culture",
  "section": "Culture",
  "published": "2026-11-01T10:00:00.000Z",
  "source": {
    "name": "Digital Camera World",
    "slug": "digital-camera-world",
    "url": "https://www.digitalcameraworld.com/photography/awards-and-competitions/euphoric-fans-grieving-mothers-these-photographs-show-a-side-to-world-cup-2026-we-didnt-see-on-tv"
  },
  "original_language": "en",
  "account": "Evening in Mexico City brings a blend of celebration and sorrow. The streets around the Angel of Independence are filled with cheering fans, their faces lit by a massive screen displaying the World Cup. Nearby, a red billboard boldly proclaims \"GOOOOOL\". A mother holds a megaphone, her Mexico shirt displaying an image of a young woman – a symbol of the missing, called \"Desaparecida\" in Spanish. These contrasting scenes, captured by Mexican photographer Iván Macías, form the core of his winning photograph series, \"World Cup of the Absent\". This series explores the duality of Mexico City during the 2026 FIFA World Cup co-hosting process. As millions celebrated their national team, mothers marched through the same city, demanding answers about relatives who have disappeared. Macías describes the city as \"split into two parallel realities\" during the tournament, juxtaposing mass euphoria with individual grief. His photographs move seamlessly between these worlds. A rain-soaked fan, shirt adorned with Mexico colors, screams with joy, surrounded by umbrellas. Meanwhile, another fan is lifted into the air by a gush of foam. Post-celebration, a trail of discarded drink containers floats through the puddles on the street. The protest images, equally striking, carry a different emotional weight. A masked demonstrator, fist raised high, carries a sign that reads \"La pelota vuelve a casa, ¿y nuestros desaparecidos cuándo?\" (\"The ball returns home, and our disappeared, when?\"). Another holds a sign accusing the government of prioritizing FIFA's interests over the local population's right to freedom of movement. Macías states, \"Estadio Azteca's 83,000 seats couldn't hold the absent\". He asserts that authorities allow spectacles while employing riot police to suppress those demanding accountability. Macías' journey to photography was unconventional. He initially trained as an engineer, later exploring performing arts and science communication. Throughout his diverse career, he has ventured into various photography genres, from urban and architectural to documentary work. His winning photographs showcase a unique fusion of technical precision and compelling visual storytelling. The series clinched the Photographer of the Year title at the Budapest International Foto Awards (BIFA) 2026.",
  "summary": "Iván Macías’s series The World Cup of the Absent sets sporting excitement against families searching for their missing loved ones",
  "key_points": [],
  "editors_take": null,
  "illustration": null,
  "coverage": {
    "outlets": 1,
    "also_reported_by": []
  },
  "ai_generated": true,
  "disclaimer": "Summaries, key points and the editor’s take are written by software from other outlets’ reporting and may contain errors — always check the linked original."
}