Hugo Espinosa

Emiliano looks at his life with the eyes of a film director, mixing the objective reality with the processes of the artistic creation. The story he is filming flounders with his daily life, until his world is trapped in the lens of his camera. Confused, always alone and in front of a screen, now become a transfigured reality, but at the same time a measurable, controllable and manipulable one, he listens in loop to a song: one of those songs you sing or repeat as a prayer and forcing you to remember, believe and convince yourself.

San Marcos, a town in northwestern Mexico partially submerged under water because of the construction of a nearby dam, is besieged by the violence of armed groups. Nevertheless, four families refuse to leave.

Alejandra arrives on the last day of moving out of the house where she grew up, along with her mother Flora, to get rid of all her memories. She doesn't want to take anything with her because the memory of what her family was like hurts her.

They dance in the water. They are like wandering clouds. But not for a homophobic spectator.

"Nazarín is a Quixote of the priesthood " "Among the films I have made in Mexico, Nazarin is one that I prefer." "As inexplicable as the accidents that set it off, our imagination is a crucial privilege."

After a tragic loss, Ivan becomes obsessed with the personality of the elephants, which they say, never forget.

San Marcos, a town in northwestern Mexico partially submerged under water because of the construction of a nearby dam, is besieged by the violence of armed groups. Nevertheless, four families refuse to leave.

Alejandra arrives on the last day of moving out of the house where she grew up, along with her mother Flora, to get rid of all her memories. She doesn't want to take anything with her because the memory of what her family was like hurts her.

They dance in the water. They are like wandering clouds. But not for a homophobic spectator.

"Nazarín is a Quixote of the priesthood " "Among the films I have made in Mexico, Nazarin is one that I prefer." "As inexplicable as the accidents that set it off, our imagination is a crucial privilege."

After a tragic loss, Ivan becomes obsessed with the personality of the elephants, which they say, never forget.

The memory and testimony of two characters: Coral Bonelli, a child actor know before as Fernando García and as Pinolito in the seventies, and Doña Lilia Ortega, his mother, an actress. Fernando came out as a trans woman some years ago, and now goes by the name Coral Bonelli. They live together in Garibaldi yearning for their past in the movies, while Coral bravely comes to terms with her gender identity. They both still perform.

Singer Eugenia León gives her own interpretation of Mexican cinema in her album Cine, a musical review from Santa composed by Agustín Lara for his first musical to a theme from the recent film Espiral. Her exceptional voice and the collaboration of groups and soloists offer a new version of classical and contemporary songs.

An intimate portrait of Sofía and Mateo, a couple who embark on a journey to decide whether or not they are still together, fractured by their differences.