Two men on the ground separate, we lose sight of them, the camera turns on its axis in a desert landscape; we see the dust, the mountains. We listen to a piano, the murmur of male voices, the characters move in and out of the frame while the camera rotates, in one of the already well-known film choreographies of the staging characteristic of the Mexican director.
Enrique Cárdenas
Pablo Molina
Mario Oliver
Juan Carlos Ortuño
Two men on the ground separate, we lose sight of them, the camera turns on its axis in a desert landscape; we see the dust, the mountains. We listen to a piano, the murmur of male voices, the characters move in and out of the frame while the camera rotates, in one of the already well-known film choreographies of the staging characteristic of the Mexican director.
An uninterrupted rehearsal of Chekhov's 'Uncle Vanya' plays out by a company of actors. The setting: their run-down theater with an unusable stage and crumbling ceiling. The play is shown act by act with the briefest of breaks to move props or for refreshments. The lack of costumes, real props and scenery is soon forgotten.
A family lives in the Mexican countryside raising fighting bulls. Esther is in charge of running the ranch, while her husband Juan, a world-renowned poet, raises and selects the beasts. Although in an open marriage, their relationship begins to crumble when Esther falls in love with an American horsebreaker and Juan is unable to control his jealousy.
Juan and his urban family live in the Mexican countryside, where they enjoy and suffer a world apart. And nobody knows if these two worlds are complimentary or if they strive to eliminate one another.
Evangelist Carlton Pearson is ostracized by his church for preaching that there is no Hell.
Sofía, a well-to-do socialite and her husband must wrestle with the impact of Mexico's 1982 economic crisis.
Drama telling the story of Blue, a young man of Jamaican descent living in Brixton in 1980, as he hangs out with his friends, fronts a dub sound system, loses his job, struggles with family problems and has his friendships tested by racism.
In New York City, a young girl is caught in the middle of her parents' bitter custody battle.
Juan lives in clandestinity. Just like his mum, his dad and his adored uncle Beto, outside his home he has another name. At school, Juan is known as Ernesto. And he meets María, who only has one name. Based on true events, set in the Argentina of 1979, this film is one about love.
After the lewd and frenetic Dance of the Seven Veils, and with the solemn pledge from the very lips of Herod himself that she could have whatever her heart desires up to half his kingdom, wanton and proud young Salomé comes before her king with an unreasonable demand. Beguiled by John the Baptist, and then scorned for the sake of his god, lascivious Salomé—encouraged by her mother, the vindictive, Herodias—commands that John be executed and his head delivered on a silver platter.
Recently escaped from reformatory, Reinaldo struggles to get by in the streets of Havana in the late 90s, one of the worst decades for Cuban society. Hopes, disillusionment, rum, good humor and above all hunger, accompany him in his wanderings, until he meets Magda and Yunisleidy, survivors like himself. In one or the other's arms, he will try to escape the material and moral misery surrounding him, living love, passion, tenderness and uninhibited sex to the limit.