Fernando Álvarez Rebeil

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.

Lucía and Nico, the couple of the century, are about to say yes... although not with each other. It turns out that they both decided to get married on the same day and in the same place, but with other people.

A man discovers he has been crying for two months without even realising it. His face has an impenetrable and serious expression. Strangely, his tears have decided to work in a reverse way, transforming the inside of his body into a waterfall. The water has started pooling at his feet.

Portrait of Mexico City. Center of chaos. Anonymous crosses each other, self-absorbed in their daily life and existence. She is in movement, he is in paralysis. Both living in the past, evading the present. They inhabit the realm of cycles trying to free themselves from attachment and suffering. Movement and paralysis intertwine in a city trapped in the cycles of earthly and recurrent existence.

As a family discusses the future of their idyllic olive farm over a meal, the complexity of their relationships emerges through laughs and confessions.

In a humble coastal tropical compound, amidst a total eclipse of the sun, an unexpected guest arouses the broken dreams of a family that has lost its guardian figure, overshadowed by the cosmic loneliness where they were left to their faith.

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.

Ernesto has found a peculiar way to meet people and earn a living: provoking car accidents.

Luisa and Gabino visit their parents in a mining town in the north of Mexico. Their father’s only interest in them is sparked by Luisa’s actor boyfriend when he acts out the role of a narco kingpin. To cope with family tensions, Gabino imagines a parallel reality of detectives and organized crime.

Seventeen-year-old Carlos doesn't fit in anywhere, not in his family nor with the friends he has chosen in school. But everything changes when he is invited to a mythical nightclub where he discovers the underground LGBTQ nightlife scene: punk, sexual liberty and drugs.