Jorge Sánchez

Revenge, redemption and chance are the topics that underpin José Luis Valle’s new film. A man runs his errands: cleans the house, picks up the dry cleaning, pays his debts and buys groceries. Then, inexplicably commits suicide. His death smites his wife, Elvira, who is unaware of the reasons for suicide. At another point, Ulises is assaulted and stripped of the portfolio that held the only photo he kept of her deceased daughter. He sets out to find the thief and kill him. The lives of Elvira and Ulises intersect unexpectedly.

A woman seeks help from one of her bigamous husband's killers to transport his corpse back to her home.

After her husband leaves her for a younger woman, Julia plans her revenge with the help of her grandmother.

Surrealist master Luis Buñuel is a towering figure in the world of cinema history, directing such groundbreaking works as Un Chien Andalou, Exterminating Angels, and That Obscure Object of Desire, yet his personal life was clouded in myth and paradox. Though sexually diffident, he frequently worked in the erotic drama genre; though personally quite conservative, his films are florid, flamboyant, and utterly bizarre.

A crooked CEO is kidnapped and nobody cares enough to pay his ransom.

At a rundown bus station in rural Cuba, the line of passengers waiting just keeps getting longer. The problem is that every bus that passes by is already full. Their only hope is to wait for the station's bus to be fixed. As the disparate group settles in, relationships start forming between the passengers: Emilio, a young engineer, becomes smitten with a beautiful young woman who is en route to meet her Spanish fiancé, a blind man gets support from the others to go to the head of the line. Frustration and disorder reign when the one bus brakes down and no one can leave. Resigned to working together, the group magically transforms the station into a beautiful place where no one wants to leave.

Documentary that celebrates 100 years of cinema in Latin America and talks about the origins and the development of cinema in this subcontinent. Its structure is based in 12 short films directed by various Latin American directors. These are: 1) "Los inicios", Iván Trujillo 2) "Cuando comenzamos a hablar", María Novaro 3) "Jugando en serio", Jacobo Morales 4) "De cuerpo presente [Las espirales perpetuas del placer y el poder] Cine Mexicano [1931- 1997]", Marcela Fernández Violante 5) "Cuando quisimos ser adultos", Edmundo Aray and David Rodríguez 6) "Cinema Novo", Orlando Senna 7) "Memorias de una isla, Juan Carlos Tabío 8) "Un grito, 24 cuadros por segundo", Julio García-Espinosa 9) "El día de la independencia", Federico García 10) "¿Sólo las formas permanecen?", Fernando Birri and Pablo Rodríguez Gauregui 11) "Todo final es un principio", Andrés Marriquín.

Edipo, is appointed mayor of a town plunged in misery and violence. His first mission is to discover and punish the murderers of Layo, a well-known potentate of the region. His investigation is directed towards all the armed factions that exist in Colombia.

Tijuana is a mystical city and the scene of different stories, where the characters search for meaning in their lives.

1536년 한 연금술사에 의해 영원한 삶을 주는 조그마한 기계인 '크로노스'라는 것이 발명된다. 연금술사는 순금의 달걀 모양인 크로노스의 사용법을 일기장에 적어둔 채 홀연히 사라져 버린다. 400년이 지난 후 골동품상을 경영하던 헤수스(Jesus Gris: Federico Luppi 분)는 유독 이상한 석고상을 찾는 손님을 이상하게 생각하던 중 창고 속에 보관되어 있던 석고상에서 정체를 알 수 없는 기계 크로노스를 발견한다. 우연한 기회에 크로노스를 사용하게 된 헤수스는 그것이 주는 젊음의 정체를 알지 못한채 중독되어 점점 뱀파이어로 변해가게 되고, 크로노스의 사용법이 적힌 연금술사의 일기장을 손에 넣은 데테(Dieter de la Guardia: Claudio Brook 분)의 부하 엔젤(Angel de la Guardia: Ron Perlman 분)에게 쫓기게 된다. 결국 헤수스는 데테와 엔젤을 죽이지만 크로노스의 비밀을 알고나서 마지막 선택의 딜레마에 빠져든다. 크로노스에 의지해 영원히 뱀파이어로 살것인가, 아니면 뱀파이어로의 삶을 포기하고 인간으로 죽음을 맞이할 것인가.

A telephone operator from Mexico City tries to support a family and her passion for popular dance.

A single mother sells clothes on the streets to support her daughter in Mexico City after the earthquake.

Award-Winning filmmaker Paul Leduc (Frida, Naturaleza Viva, Reed: Insurgent Mexico, Barroco) directed this gritty musical drama about life in the ghettos of Mexico City during the 1980s. With a soundtrack of Mexican rock music, the camera takes the viewer through the streets, to rock concerts, and to the bars and clubs, where he exposes the hunger, repression, unhealthy conditions and violence in the marginal communities of Mexico's capital city.

While Mexico swims in the oil veins that were deeded to him by the Devil, a bureaucrat is thrown into a whirlwind of intrigue and international espionage where he discovers that the guts of the beast in charge are one and the same, and the evacuation conduit itself. : We are the shit of that monster. At the same time, a man and a woman discover that behind their passion there is a dark reality that drives them to disguise as action what is only hunger, suffering, desire.