Sol
Uzi is the name of a firearm, but also is the diminutive of Uziel, who used to be a hitman in his youth. Now he lives crushed by guilt. His crisis deepens when he helps in a childbirth: the force of life fascinates him, and he does not understand how he was able to destroy it in the past.
Toñis
Sofía a well-to-do socialite and her husband must wrestle with the impact of Mexico's 1982 economic crisis.
Tere
Madrina
Fernando cannot forget Sofía. She left some time ago and still the littlest things remind him of her. When he meets Liz, he starts to manipulate his own memories so that he can move on, but his own mind has created a strange being that will stand in his way.
Manuela
Ana, a 7 year old girl, tries to understand and be a part her grandfathers funeral despite her mothers efforts to keep her away.
During 1950, Miguel Contreras Torres led a group of filmmakers to officially denounce William O. Jenkins' monopoly on film theaters, which was built throughout the country upon crime and corruption. Ever since, Uncle Miguel was ridiculed and eventually forgotten, but it is certain that his proclaim announced the separation of Mexican cinema and its audience. Discoveries may be found in the films made by Miguel, and bringing back to life these moving pictures might recover this history that was never told, a story that is almost lost and that Contreras Torres himself tried to pass on through his writings in The Black Book of Mexican Cinema.
Mamá de Fede
Fede is an overweight man, who finds it difficult to move around his own house. One day he finds in photography a way to change his life forever.
