A young photojournalist in the city of Veracruz, Mexico, will risk his life to dig up a shocking truth after picking up the investigation that his journalist friend and mentor left unfinished when getting killed by the organized crime.

This outrageous comedy stages a soap opera of epic proportions, as one corrupt property developer faces trial for Mexico's violent history. The fourth feature from Santiago Mohar Volkow, Una historia de amor y guerra centres on real estate baron Pepe Sánchez-Campo, whose mega-mall development brings him into conflict with local guerrillas. For once, bribery and a call to Daddy might not be enough to save Pepe – a character more grotesque than the telenovela unfolding around him. Trying to sabotage Pepe's marriage to Constanza, her cousin and lover Teo records Pepe cheating. The resulting chaos precipitates in a burlesque bloodbath involving treachery, talking animals, colonial history and bartering in the afterlife.

The newly separated Leonor comes from the monied class, while sixteen year old aspiring ballerina Emilia does not. They begin a tense pas de deux waiting out Emilia’s pregnancy in a remote country home, isolated from the world and each other.

In a bustling Mexican household, seven-year-old Sol is swept up in a whirlwind of preparations for the birthday party for her father, Tona, led by her mother, aunts, and other relatives. As the day goes on, building to an event both anticipated and dreaded, Sol begins to understand the gravity of the celebration this year and watches as her family does the same.

Ramiro has been diagnosed with autism. He loves order, his music, his sheets, the rhythm of the day, and the color of his room. His mother, Aurora, who has cared for him for years, will not reveal the reason why she has decided to move her son to her best friend Elsa’s house. Ramiro’s life as he knows it is destined to fall apart.

In an industrial city, aimless teenager Lucas searches for meaning and connection. A friend’s sudden departure will send him on a poetic odyssey.

Luz works at a gallery but her real passion and purpose in life is as an opera singer. She’s been invited to audition for Madame Butterfly at one of the principal theatres in Mexico City. Luz must practice. Her friends Lycian and Chío instruct her. How to make her voice and hands dance. She’s told “Your mouth is twice the size of your eye,” and this is all part of a divine geometry that governs the world. The 25th commission from Miu Miu Women’s Tales.

A metacinematic reflection on the nature of representation and the ongoing drug war in Mexico, Nicolás Pereda’s Flora revisits locations and scenes from the mainstream 2010 narco-comedy El Infierno, exploring the paradoxes of depicting narco-trafficking on film—its tendency both to romanticize and to obscure. To screen is both to project and to conceal.

Fifty-year-old Maria Garcia is the owner of the Dos Estaciones, a once-majestic tequila factory struggling to stay afloat, and the final hold-over from generations of Mexican-owned tequila plants in the highlands of Jalisco; the rest have folded to foreign corporations. Once one of the wealthiest people in town, Maria knows her current financial situation is untenable. When a persistent plague and an unexpected flood cause irreversible damage, she is forced to do everything she can to save her community's main source of economy and pride.

After 15 years, Mateo returns to the old textile factory to say goodbye to his recently deceased mother. Incidentally, he will have to spend time with his alcoholic father, whom he can't stand.

In Querétaro at the end of the 17th century, a spanish maiden has given birth to a creature.

In a mountain town, where corn and poppies grow, the girls wear boyish haircuts and have hiding places underground to escape the threat of being stolen. Ana and her two best friends grow up together, affirming the bonds of their friendship and discovering what it means to be women in a rural town marked by violence. Their mothers train them to flee death, to escape those who turn them into slaves or ghosts. They create their own impenetrable universe, but one day one of the girls doesn’t make it to her hiding place in time.

A pair of estranged offspring visit their parents in an abandoned Mexican village.

After breaking up with his girlfriend and without a stable job, Laif faces his new life with what he has left: a great ability to do the opposite of what is right.

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.

Marina, who was a primary school teacher in life, emerges seriously injured from a lake and after a long journey, arrives at the school where she once worked.

Eve, a young chambermaid at a luxurious Mexico City hotel, confronts the monotony of long workdays with quiet examinations of forgotten belongings and budding friendships that nourish her newfound and determined dream for a better life.

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.

Patricia and her partner Andrea have an argument over their life together, leaving their relationship in limbo. When Patricia leaves for a work trip, Andrea makes a decision to which might change their lives forever.

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.

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.

Summer of Goliath is a documentary/fiction hybrid that narrates various stories of the people of the town of Huilotepec in rural Mexico. Teresa's husband has disappeared and she believes he has left her for another woman. Gabino, her son, is a soldier who searches cars at the side of a country road, where very few cars pass by. He hopes one day him and Alberto, his soldier partner, will get machine guns to further intimidate the people driving by. Amalio, Nico, and Oscar are three brothers whose stories we learn through a series of interviews and reenactments. Their father left them many years ago, and their mother can barely support them. Oscar has gained the nickname Goliath after the mysterious death of his girlfriend.

An itinerant mover works from the streets of Mexico City with his partner and lives with his beleaguered mother. A heightened tension within the home – by the absent older brother and unmentioned father. Gabino's casual pursuit of a career is interrupted by a series of intense and almost satirically telenovela-esque domestic vignettes.

Vicente (Gabino Rodríguez) is a young farmer in a rural village who scrapes by while taking care of his ill grandmother. Several of Vicente’s uncles intend to their ailing mother’s land without her knowledge. Vicente seeks help from the municipal president who, between shooting hoops on a desolate court, tells him that if he wants justice, he must head to the capital to meet with government officials. Although he hasn’t seen her since he was a child, Vicente sets off in search of his mother, who works as a maid in maze-like Mexico City. With the help of his mother’s employer, a sophisticated middle-aged woman, he finds the government offices where he presents his case. His situation isn’t easily resolved, especially since he does not have the deed to his grandmother’s plot of land, and Vicente finds the complexities of the legal system to be completely overwhelming.

Antonio and Jorge compete in the transportation of undocumented Mexican migrants to Texas, the new El Dorado. Their gangs are heavenly armed, and do not fear the police. Gilberto is determined and courageous, and wants to arrest them.