Terra Nostra Films

A captivating diva, incarnation of Acapulco, remembers when she was the most famous movie star of Mexico. Meanwhile, Marco, Javier, Félix, Alfonso and Yolanda are getting ready for Easter Week, the period when the city revives, recovering for a few days its past glory. Each one tries to survive his own way in that paradisiacal set that everyday looks more like hell.

In this deeply moving dialogue between mother and son, Mexican Tzotzil director Xun Sero confronts his past with honesty, understanding and forgiveness. Growing up without a father, he blamed his mother for the paternal absence in his life; this, for him, became his first act of violence against the feminine and his own mother. Societal pressure and shame prevented his mother from speaking about the realities of violence in her childhood and within her partnership with the director's father. Guided by the desire to understand who his mother is, Sero has created an extraordinarily sensitive first film where both mother and son open a dialogue in an attempt at self-discovery. Bravely, together, they open the door to a room of darkness and unknowns and begin to walk down a path of healing.

I was about seven years old the first time someone called me \"black\" on the street. I turned around to see who they were talking to, until I realized they were talking to me.

Chiapas, southeastern Mexico. When the inhabitants of several villages and towns expel the mayor and the police from their territory, they face the challenge of self-government.

In a journey from the mountains of southeastern Mexico to the northern border with the United States, Subcommander Marcos and the people of Mexico trace the forgotten face of a country. A celebration of the struggle for land and dignity.

In a tsotsil community from south Mexico, where all the sounds come to life, the musical tradition of a family of musicians is transmitted from one generation to another: from the grandfather, who lives his last melodies; the son, who assumes the position of traditional musician; and the grandson who has the pleasure to continue with the musical memory of his family.

Mothers and daughters flee their country of origin and travel through Mexico carrying their fears, dreams and a hopeful future.

Elena, a Tsotsil Mayan woman from San Andrés Larráinzar, Chiapas, is appointed Municipal Trustee by a purely male community assembly.

The unexpected encounter between an old man, who is going blind, and his granddaughter, who has a limited memory of her childhood. As the grandfather weaves a traditional hat, the threads of family history are untangled. Between these two silences, it becomes possible to understand the meaning of love in Tzotzil.

Through his dreams, José received a gift given by the gods. Now that he is at a mature age in life, José would like to rest, but he is not allowed.

During colonial times, Nyanga was kidnapped from the coasts of Africa, brought to Mexico and enslaved. Even though he was forced to work at another man’s estate, he never stopped dreaming of freedom. Based on historical events and using shadow play techniques, “Nyanga” is an homage to the many resistances against the shackles of colonialism.

A young Tsotsil woman, about to give birth for the first time, draws on the memories of the women who preceded her to navigate this unique moment, encountering the experience of motherhood in her world.

In Mexico, Margarita searches for answers to her daughter’s death and discovers Paulina’s voice can echo the struggles of a movement.

Mayan culture still thrives among the Tzotzil people of San Andrés Larrainzar, a town in southeastern Mexico. Each inhabitant shares responsibility for the collective well-being but only a few are called upon to serve the gods—often in a dream.