Filmoteca de la UNAM

A film essay that intertwines the director's gaze with that of her late mother. Beyond exploring mourning and absence as exclusively painful experiences, the film pays tribute to her mother through memories embodied by places and objects that evidence the traces of her existence. The filmmaker asks herself: What does she owe her mother for who she is and how she films? To what extent does her film belong to her?

Javier Espada's documentary about the making of Bunuel's masterpiece "Los Olvidados".

A FICUNAM commission for four directors, Liminal seeks to play with poetic affinities between film and music. Moving across aesthetic and generational differences, the film-makers explore this relationship through four distinct stories as to context and imaginary.

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.

Chapter 15 of the series 18 decades of life in Mexico in the twentieth century. Images of the cultural, social and political life in Mexico from 1970 to 1974. During the presidential term of Luis Echeverria Alvarez fantasies of prosperous and modern country it dissolves; Mexico live in political crisis. It is a time of omnipotence, barbarism, and violence intervention: the world seeks new ways. In Mexico, it held the World Cup, unionism is strengthened and inflation responds to the continuing economic imbalances.

Javier Espada explores how Luis Buñuel, one of the greatest precursors of surrealist cinema through works like An Andalusian Dog and The Golden Age, began to move away from this movement but never completely abandoned it, maintaining a strong oneiric element in his films. Taking us deep into his past and evolution as a creator, this documentary provides an unprecedented window into the world and work of an irreplaceable genius whose influence has reached the rest of the arts.

A film essay that explores the relationship between film and memory, based on the personal memoir of the director. An autobiographical attempt to analyze this relationship going from the individual to the collective. From Chris Marker to Hitchcock and on to Kennedy´s assassination, passing through Fritz Lang and Bruce Willis, the memory of the images is fused with our own story, until they cannot be separated.

Fabiola is a 30 year woman who owns a coffee shop; she has an affair with her 16 year old employee Andres. This relationship will have consequences that will mark both of them.

In an essay and archival intervention, questions arise about the images of the 1968 national strike council.

Four rebellious young Mexican women band together as outlaws in this film without audible dialogue, set to a soundtrack chiefly comprised of of Mexican rock & roll.

A monument to the Tlatelolco student massacre of 1968 in Mexico City, ten days before the Olympics. Hundred of students were disappeared. A grotesque tradition - the complete physical obliteration of students organizing for progressive change - was hurled into motion. This film is nearly wordless. In place of words, the enactment of violence against the images themselves, in a stagger towards commensurate aesthetics.