Brujazul

Fernando is attracted to his best friend. They skip class together and go camping in the woods.

Julian is a child who fantasizes about seeing a mermaid. He treasures a collection of clues that he finds after each day of fishing with Chava, his father.

Pepe wants to belong to the luxurious lifestyle of Leo, his best friend. To achieve this, he creates a world of lies that will put more than his friendship at risk.

In the vicinity of Tajín, several schools teach the art of the Papantla Flyers, attended by Dana, Said, Jairo, and Sarahí. These four children introduce us to the magic of this Totonac dance. As they train to become flyers, they share legends of how new generations can fly and save the region from drought. To achieve flight, they must overcome fear, practice discipline, and keep dreaming like all children.

Alma, a middle-aged woman, really wants to attend dance classes. However, her busy daily routine of caring for her sick mother Gladys and the lack of cooperation from her brother Rubén prevent her from doing so.

Camila and Abril grew up together in a small town on the coast and are best friends. There's an obvious and uncomfortable attraction between them. April's family will move to the city, their paths will have to separate forever.

Huachindango is the small capital of a small Central American country. In this city, women must enter rooms managed by “The System” at different times in their lives, where there are different types of sexual assault. No woman in Huachindango escapes from entering, at one or more moments in her life, to these rooms. There is one room that is the most feared of all: Cock’s Quickie.

Women who live in Ciudad Juarez organize safe havens for children in some of the most violent neighborhoods in Mexico. There, Diana, Joseph and Gael seek out the freedom that they once had on the streets, and try to heal the wounds that the violence of organized crime has caused them.

The piece that inspired the films is the composition of Eduardo Díaz Méndez, an ayüük composer, who is also an agricultural engineer. In conversation with the artist we discovered how “poverty” is a un concept learnt from outside to see ourselves, that generates a fragmented vision of out own reality. The process of discovering our wealth is the process of the cultural re-appropriation that we have challenged the new generations to enjoy, to honor what we are. The labelling of our people as poor, a labelling that comes from the capital cities, is a form of violence that questions what we are as peoples, as well as questioning our way of life and culture.

Since the reception of a great company that makes everyone proud, every day, María tries to please people and is ignored, except for a big head. Although it seems that a friendship with him is possible, it is not enough. María needs to belong, even if it means giving up her nature and her only friend.