Nicolás Aguilar Límenes

The internal journey of eight men, who, through a theater workshop, go through the different prisons they inhabit. Practicing the art of seeing themselves, in Boal's words, this group of men reflects on their masculinity as a representation to hide their true strength: their vulnerability.

Neimar, who is currently preparing for his first communion, asks his grandmother how you can feel God. Claudia Sainte-Luce's film does not yield simple answers. Instead, it follows with a shrewd and bright view the world perception of a child in which - between the thundering of the ten commandments and horse racing - the profane and the transcendent are rearranged.

Since an attack on students of the Ayotzinapa Rural Teachers' College in 2014 resulted in six deaths and in the forced disappearance of 43, the students’ families have been living in limbo with their unanswered questions, their struggle embodying the psychological and emotional toll of endemic violence upon Mexican society.

In times of zero tolerance for undocumented migration and Donald Trump tries to build higher walls to stop it, a series of deportees who intend to cross back to the United States survive by forming a community a few meters from the border fence.

In times of zero tolerance for undocumented migration and Donald Trump tries to build higher walls to stop it, a series of deportees who intend to cross back to the United States survive by forming a community a few meters from the border fence.

Marta, a woman who is suffering from an eternal pain she expresses through silences, lack of communication, and unspoken issues – and yet, it is there. Her friendship with a young man from the area creates an interest triggered by its ambiguity: is there s sexual tension, or rather she sees in him a memory of what she lost? Is there an attraction or does the young man stand for the ghost of that past that still exists in Marta's everyday life?

Marta, a woman who is suffering from an eternal pain she expresses through silences, lack of communication, and unspoken issues – and yet, it is there. Her friendship with a young man from the area creates an interest triggered by its ambiguity: is there s sexual tension, or rather she sees in him a memory of what she lost? Is there an attraction or does the young man stand for the ghost of that past that still exists in Marta's everyday life?

Two brothers, Samuel and Rodrigo, live with their mother in a suburban town. One day the mother, who has mental health problems, disappears leaving nothing behind but a note. David Pablos is a young Mexican filmmaker, born in 1982. His first short film, El mundo al atardecer, was made in 2007. La canción de los niños muertos (2008) was his second short film; he presented his first feature-length film Una frontera, todas las fronteras (2010) at the Berlinale Talent Campus before coming to Venice with his second film, La vida despues, for the 70th Venice International Film Festival.