A view of the end-of-the-century Mexican family. A father who comes back home after a long absence, but who would rather be somewhere else. A daughter suffering from a trapped pain. A son full of guilt and recriminations. A little kid who soaks up all the tension in the house, like a sponge, and a self-effacing mother who would like to go away and leave everything behind.
Aging politicians who have faded from the public eye hold a cocktail party to celebrate one friend's appointment to the President's Cabinet. Illusions are indulged, illusions are shattered.
Cheque and Lucas are two friends who, after winning the biggest lottery in the country, are ready to take the leap into their new life, the new rich millionaire life.
Roy Del Espacio (aka Roy From Space) was a Mexican animated movie directed by Hector Lopez Carmona, Rafael Angel Gil and Ulises P. Aguirre that was in production from 1979 to 1982, being released in theaters in Mexico City in 1983. However, the end result was apparently of really poor quality, so much that the movie was pulled from theaters only two days after its premiere. The movie was never broadcast on TV nor released on home video, and information about it or its creators is almost nonexistent. The only surviving visual information is a promotional poster containing both original art and a black and white still from the movie.
Lucia must find new meaning in her life in order to move forward after a suicide attempt.Dealing with her grief over the death of her son,she establishes new ties and notices small miracles.An encounter and unexpected journey open up the space for her to understand that she can continue to live and to discover that eternity resides in a single instant.
A Mexican comedy loosely playing off of the tale of Sleeping Beauty. A caveman wakes up after a thousand year slumber. When he awakens he is seen as a wonder to behold, and discovers his ancient love and romantic rival are seemingly still alive as well.
An intruder dressed in a Krampus mask breaks into a teenage Christmas party.
A film essay that intertwines the director's gaze with that of her late mother. Beyond exploring mourning and absence as exclusively painful experiences, the film pays tribute to her mother through memories embodied by places and objects that evidence the traces of her existence. The filmmaker asks herself: What does she owe her mother for who she is and how she films? To what extent does her film belong to her?
On Cuauhtémoc Avenue, near the intersection with Reforma Street, a trio of musicians arrives—members of a fara-fara group. They wear their hats, shirts, belts, pants, and boots. They play the accordion, the bajo sexto, and the tololoche. However, they play for a city dominated by traffic, cars, honking horns, and people rushing from one place to another—a constant movement brought on by urban life, in a space filled with buildings and concrete.
This documentary is a portrait made in Mexico by a group of Argentine exiles, directed by the painter Nicolás Amoroso.
Two days in the life of a rent boy in Alameda Central, Mexico.
Emmanuel receives the news that his father won't be able to pick him up after school, so he must return to the taxi that his mother requested. However, not realizing it, he gets into the wrong car, which leads him to put his life in danger. He manages to escape from the fake driver and when he gets home he reflects on his own life and his faith in religion.
A young girl travels through the city to deliver a gift to her dying mother.
An outsider man comes across the house of El Enfrascador de Almas. Without him knowing, the outsider listens to the detailed explanation of what an Enfrascador does in the day-to-day work of trade.
