Altavista Films

A fatalistic car crash in Mexico city sets off a chain of events in the lives of three people: a supermodel, a young man wanting to run off with his sister-in-law, and a homeless man.

A young boy, attempting to have a normal childhood in 1980s El Salvador, is caught up in a dramatic fight for his life when he desperately tries to avoid the war that is raging all around him.

After a family survives Hurricane Katrina, there is another storm but this one is much worse.

When a Mexican film director becomes fed up with the crime and corruption in his homeland, he decides to single-handedly take on a powerful band of criminals.

The old Spanish filmmaker Luis Buñuel (1900-83) imagines a movie plot, set in Toledo in the future 2002, about the fantastic adventure of three actors, who play him and his friends, the painter Salvador Dalí (1904-89) and the poet Federico García Lorca (1898-1936), and their search for King Solomon's table, a mythical artifact capable of revealing the past, present and future.

Four lonely and disenfranchised urbanites in contemporary Mexico City: a preteen boy under tremendous emotional strain, the pretty cashier with whom he is infatuated, an enraged and embittered cabbie, and the estranged daughter of one of his fares. Per the film's title, these characters pair off, finding unexpected hope and salvation in one another.

A hacker who is spying on a pretty neighbour messes up his assignment to break into Swiss bank accounts for Russian mobsters.

Futuristic movie about Alejandro, a gifted left-handed child marble player who must win a competition as the entire town's hopes - and money - rest on him.

Adapted by writer/director Fernando Sariñana from the stories by Juan Madrid, Ciudades Oscuras (Dark Cities) tells a story of interwoven lives in the seedy underbelly of Mexico City. The several different story lines concern hooker Lola (Dolores Heredia); her drug addict son Fede (Diego Luna); her friend Zeze (Zaide Silvia Gutierrez); Zeze's daughter Susana (Jimena Ayala); and junkie Vicente (Roberto Sosa). Also on the scene are two corrupt cops (Alejandro Tommasi and Jesus Ochoa) and one good cop (Odiseo Bichir), while Chicken (Hector Suarez) and Casimiro (Alonso Echanove) each tell their separate stories to the same bartender (Demian Bichir). ~ Andrea LeVasseur, Rovi

A group of kids have a dream: to play a football championship and to win. Their dream is going to be fulfilled by Don Pepe, an old guy with lots of expectations for his kids.

Perico and Emilio, almost good looking teenagers, enterprising bums and lovers of the seamy side of student life, have the same problem: they have no place to take their girlfriends to give free rein to their baser passions: they can't go to their homes or those of the girls, and only sluts go to hourly hotels. Faced with this need (and a great deal of pent up testosterone), they decide to become entrepreneurs, thanks to Perico's father's old VW van, that, as well as a possible solution for their lust, can also be turned into the business of a lifetime, as Professor Carranco would say: Today, whoever finds a niche in the market can become a millionaire.

The night Celia unsuccessfully attempts suicide, a teenage girl (Melany) is raped and murdered nearby. Miguel Ángel, the police officer in charge of finding the perpetrator of the crime, digs around Celia and her closest circle, including her two sisters (Carmen and Ángela) and her husband Agustín. While the cop suspects about the girl's boyfriend (Pedro), Celia suspects about her husband.

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

When the Chilean officials lift the ban on harvesting the shellfish "el loco" (which purportedly is an aphrodisiac) in the seaside village of Puerto Gala greed and lust take hold. Greed is embodied by Carlos Maldonato, "El Canuto," who attempts to buy all of the shellfish for a Japanese company, and by a traveling band of prostitutes that accompany the influx of fishermen. El Canuto also wrangles to get into good stead with an old flame, Sonia, who is now the proprietor of "La Pincoya," a local restaurant. But "el loco" proves more effective, and more damaging, than anyone could have guessed.

In the manner of a well run Greek tragedy, leaving aside one of its components, dragging in its passing narrative certainty by the viewer that violent death is the hallmark of so much misfortune purifier, Los Dioses Rotos crowns the very successful arrival of Ernesto Daranas to the feature domains and with it, the team that accompanied him, including the actors.