Miguel and Johnny know each other since childhood. They are dedicated to skate and have fun. To earn easy money and continue skating, they sell their own blood to a clandestine contact in a hospital. The activity becomes business until a large transaction is not as they imagined.
Dealing with a series of increasingly absurd situations and relationships, recently separated yoga instructors Gustavo and Vanesa are finding it difficult to live apart. Their challenges include meddling mothers, amnesiac students, and burgeoning romances. Step by step, they find their way back to the practice.
Mariano, 16, inexplicably and without warning, shoots himself twice and improbably survives. Then, life goes on. His brother pursues a romance with a girl working at a fast-food joint, his mother takes off on a trip with a stranger, and Mariano recruits a woman to join his medieval wind ensemble.
The deterioration of a small community in Fogo Island is forcing its inhabitants to leave and resettle. Places once occupied by humans are now becoming part of the tundra landscape. In spite of a condemn future, there are some residents who decide to remain, holding on to their memories and grieving for the past, when life in Fogo was different.
When Gabino's father returns home after a long absence, the two men awkwardly attempt to re-establish a relationship; but Gabino and his mother quickly tire of this man who has become a stranger to them and decide to kick him out, before realizing that he has already left. Gabino eventually tracks his father down and spends time with him in his rundown apartment, trying to figure out if there is any possibility for the two of them to ever truly communicate. Though Greatest Hits continues Pereda's exploration of his perennial themes of absence, masculinity and the difficulty of maintaining a family, it opens up a whole new set of aesthetic questions through a bold formal gambit: halfway through, the entire narrative reboots and starts from scratch with another actor playing one of the key characters, leading to different iterations of events already witnessed.
A pair of estranged offspring visit their parents in an abandoned Mexican village.
Enigmatic and deceptively playful in tone, this film from Gabino Rodríguez, in collaboration with Nicolás Pereda, boldly transforms mundane, realist observations at a rural Mexican schoolhouse into fantasy and a sly comment on childhood, rituals, and race.
Minotaur takes place in a home of books, of readers, of artists. It’s also a home of soft light, of eternal afternoons, of sleepiness, of dreams. The home is impermeable to the world. Mexico is on fire, but the characters of Minotaur sleep soundly.
You’d never know this is your home away from home. The surveillance camera outside shows a drab reception area and an unremarkable street in Mexico City; inside, the lights flash, but the tables are empty. Yet preparations are soon underway and fixed categories cease to apply: stubble is removed, make-up applied and strands of hair are teased into place; the camera is trained not on the men themselves, but what they see in the mirror.
Tales of Two Who Dreamt is set in a housing block in Toronto and pivots on representation and self-representation. Here, a Roma family rehearses the stories of their past for the upcoming hearing on their residency status.
The Palace is a documentary that follows the everyday life of seventeen women who live together, sharing a large house for emotional and financial reasons. They help each other to train for various jobs. Most become nannies, domestic workers and private nurses for elderly patients.
A man in chains, a young man who dreams of being part of something, to become a militant for an armed group who must wield a cruelty in which he may not believe in. The characters, each voluntary or involuntary part of a mechanism that overcomes them, reveal their greatness or misery in the “minimum” tasks that they perform to survive. From that sometimes morbid poetry of the everyday and the irrefutable truth of the details, we see a country whose social body is sick and injured.
Luisa, a 25-year-old woman addicted to chiva (heroin), travels to a beach in the coastal State of Veracruz with the idea of quitting the drug once she gets there. Luisa eventually grows ties with the locals and in particular with Salomon, a 65-years-old peasant in whom she thinks to have found the aid she needs to fulfill her goal.
A series of auditions is taking place in a museum-like living room. Various men improvise or deliver prepared lines, rehearse gestures and slogans, aim guns, and collapse as if mortally wounded. The theme of revolution is repeatedly invoked. In between, there are scenes of a desert landscape. Three men seeking to join the Mexican Revolution at the beginning of the last century have lost their way. Conflicts smolder among them, water is running low, and mutual mistrust is beginning to take hold. Placing the reenactment of a possible historical event alongside the preparations for it serves to underline the theatricality of every cinematic account of history. Moreover, on a kind of playful meta-meta-level, the scenes in which the actors feel their way through set pieces from a Beatles song or standard battle slogans allow the viewer to witness the simultaneous construction and deconstruction of a collective myth of revolution.
A heartless poet wants to rewrite his lost stories while talking with Ines, the woman who takes care of his fundamental needs.
