The memory and testimony of two characters: Fernando García, known as Pinolito, who was a child actor in the seventies and Doña Lilia Ortega, his mother, an actress. Fernando came out as a transvestite, some years ago, and now calls himself 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.
Inside the elevators of the oldest multi-family residential building in Latin America, life goes by quickly. Bodies and stories crowd together in front of the elevator operators’ eyes in the small metal box. Elevator operators are spectators, guardians and confidants. They are the ones who know the living history of the buildings.
I was about seven years old the first time someone called me \"black\" on the street. I turned around to see who they were talking to, until I realized they were talking to me.
In 2016 the Mexican District Attorney secretly buried more than 100 murdered bodies during the war against drug trafficking. They kept it hidden until a group of women, mothers, discovered it while searching for their missing children. One of them retrieves the body of her brother. "To See You Again" narrates the participation of Mexican women as they exhume what remains of the corpses and learn about forensic work. They help us discover the crimes committed by the state when burying the bodies.
In the Indigenous and Afro Mexican communities of Oaxaca’s Coast, the future is played out in the realms of ritual and politics: water rituals, fishermen’s daily struggles and the constant threat to communities of the Río Verde make life hang in the balance delivered by water’s fate.
Isa and Zoe are eleven years old, they are best friends. Through their video diaries, they tell their perspectives on the transition from childhood to adolescence, the changes they are undergoing and their concerns when they stop being girls to become women.
Alberta, Julia, and Catalina are three Chatino migrant women who have had to leave their communities to work on the Oaxacan coast. Catalina sells food, while Alberta and Julia work in lime and papaya orchards. The three women endure discrimination and the challenges of survival in an unknown place—all in order to improve their families’ quality of life.
The son of the Red Huachinango defines the future of the women and girls of the Zapotec Isthmus community of Tehuantepec, as many of them will be forced to test their virginity through ritual.
