Alfonso Borbolla

Fausto and Esther childhood was tormented. Fausto, trying to escape from his father. Esther, mistreated by her brother-in-law. They both begin to be involved in a supernatural situation. Over which they have no control.

Двадцать лет прошло с тех пор, как две квартиры в самом центре Мехико стали полем битвы полов между Аной, Карлосом, Андреа, Мигелем, Томасом и Марией. Все, что осталось от этих квартир, - воспоминания и изображение мертвого тела Томаса на дне шахты лифта. Их жизнь изменилась, их дети выросли, и появились неожиданные персонажи, которые нарушили повседневную жизнь и запустили цепочку новых событий.

After 15 years, Mateo returns to the old textile factory to say goodbye to his recently deceased mother. Incidentally, he will have to spend time with his alcoholic father, whom he can't stand.

Ximena's dad lost his job and it doesn't seem like he is trying to get one. She leaves school to support her family but a power war will break out between her and her father when his authority figure is threatened.

Nicolás, a photographer, has suffered epilepsy since childhood and he is forced to take care of himself and sacrifice a lot, though he lives a normal life. On the other hand, Isabel is a woman who, apparently, has her whole life figured out although her mother is ill and she has no choice but to try to save her. Isabel and Nicolás fall in love in spite of themselves, their demons, their ghosts, and their weaknesses. Suddenly engaged in a relationship none of them would have even dared to imagine, they experience the love, passion, insecurity, fear, and allergy to commitment typical in people who are drifting away.

Pablo Kramsky, a crime reporter for a tabloid newspaper is the victim of a home invasion. A colleague offers him a gun for self-defense, and this leads Kramsky to kill a person when he feels endangered. Kramsky is not brilliant at his job, but when he writes an article about a possible vigilante taking justice into his own hands, he gains the recognition of his superior and the admiration of his coworkers. Thus, Kramsky repeats the formula, committing crimes and writing about them, creating a crime fighting national hero.

Mexico’s half-forgotten B-movie master, “involuntary surrealist” Juan Orol (1897–1988), receives a pitch-perfect tribute in this deft, irresistible love letter to a self-made man of showbiz whose career spanned half a century and nearly 60 films. Abetted by an all-pro cast, del Amo’s brilliant interpretation of Orol’s life exudes a droll underdog charm, and almost every frame is an infectious homage to the golden age of cinema, the wiles of memory, and the art of fantasy.