Wendy Muñiz

A multi-generational family of outspoken Puerto Rican women takes center stage as they conceive and perform fantastical film vignettes as a way to navigate painful pasts in this visually-arresting, kaleidoscopic documentary.

Federico Solorzano, paleontologist and collector, lives the last months of his life in his house in Guadalajara, Mexico. His collections count over 500 thousand objects ranging over a broad variety of kinds. His granddaughter Daniela dives into them, trying to understand her grandfather and his relationship to the world.

Despite living in a conservative society, Daniela, a closeted queer, commits to a young high school girl named Lucía, but a traumatic event threatens their relationship.

A revelation about Oscar Torres, her unknown and once world-famous queer filmmaker cousin, sends Victoria down a path of self-discovery through reconstructions of his intimate memories living in the 1950's authoritarian Caribbean, as Victoria leads re-enactments of his unproduced screenplays with the family who erased him.

Daniela, a young woman coming out of a breakup, moves to Lisbon for a few months. Feeling lonely, she starts dating Diogo, a happy-go-lucky guy she meets on Tinder. They get to know each other as they explore solitude, love, and friendship, aware that they will soon part ways.

The film revisits repurposed movie theaters through haunting images and sounds that trace the practices of belonging still embodied in the ruins.

A multi-generational family of outspoken Puerto Rican women takes center stage as they conceive and perform fantastical film vignettes as a way to navigate painful pasts in this visually-arresting, kaleidoscopic documentary.

A multi-generational family of outspoken Puerto Rican women takes center stage as they conceive and perform fantastical film vignettes as a way to navigate painful pasts in this visually-arresting, kaleidoscopic documentary.

Federico Solorzano, paleontologist and collector, lives the last months of his life in his house in Guadalajara, Mexico. His collections count over 500 thousand objects ranging over a broad variety of kinds. His granddaughter Daniela dives into them, trying to understand her grandfather and his relationship to the world.

Despite living in a conservative society, Daniela, a closeted queer, commits to a young high school girl named Lucía, but a traumatic event threatens their relationship.

A revelation about Oscar Torres, her unknown and once world-famous queer filmmaker cousin, sends Victoria down a path of self-discovery through reconstructions of his intimate memories living in the 1950's authoritarian Caribbean, as Victoria leads re-enactments of his unproduced screenplays with the family who erased him.

Daniela, a young woman coming out of a breakup, moves to Lisbon for a few months. Feeling lonely, she starts dating Diogo, a happy-go-lucky guy she meets on Tinder. They get to know each other as they explore solitude, love, and friendship, aware that they will soon part ways.

The film revisits repurposed movie theaters through haunting images and sounds that trace the practices of belonging still embodied in the ruins.

The film revisits repurposed movie theaters through haunting images and sounds that trace the practices of belonging still embodied in the ruins.

The film revisits repurposed movie theaters through haunting images and sounds that trace the practices of belonging still embodied in the ruins.

The Baja 1000, the biggest off-road motorsport race in the world, crosses Mexico's largest desert region. In this Western, which is surprisingly reminiscent of a musical, Jose Permar followed Rigo, Davis and Paco, three fans of this mechanical saga with a beat set by the “corridos” (epic lyrics) sung by a trio of flamboyant musicians.