Fondo Nacional para la Cultura y las Artes

Mexican short film

The city is a wordless visual symphony, inspired by the (un)wonders of Mexico City.

In three sleepless nights, Henrietta experiences a psychotic crisis, in which her self becomes detached from her body. We do not speak of madness, but of a situation out of control. In three acts, the denial of self, the immobility of the body and the mind-body separation are addressed through visual metaphors. These sensations conclude in Henrietta's delirium: the outside and inside of her house are mixed, there are shadows that haunt her and she finally falls into a bottomless spiral.

Under the imposing snow-capped mountains of Utah, a Mexican family lives with the uncertainty of a loved one's disappearance.

This is a movie built from impericia, from misunderstanding, from surprise and mutual amazement; it is a film that reflects on the idea of community, the relationship of mankind with the environment in which nature, beasts and human beings depend on each other to continue inhabiting a barren land.

Mexico City. Every day, Beatriz is insulted and humiliated by her jealous husband, but she does not flee his side because they have created a codependency and, at least for her, she would not conceive of her life any other way: by dint of feeling humiliated, she feels desired and desirable.

The trace of disturbing memories within a circle where the horizon is lost, what was already seen and reappears without any sense. The tiny space where dreams becomes lively present. Nothing is permanent, the dreams are foam.

In the small, enchanting town of Lachatao, the children's fears, dreams, and wild imaginations come to life, offering us a glimpse into their everyday adventures. Through their eyes, we are invited to explore the wonder of childhood and the hopes they hold for their future, as they navigate the mysteries of growing up in a place full of magic and possibility.

Do we belong to a place, or does a place belong to us? Like a skein that unravels, this question unfolds the essayistic thread of the film, going through a series of relationships, from the link between Tzotzil women and nature to a reflection on one's work as a documentary filmmaker.

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.

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.

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.

A mysterious skeleton appears in a Mexican neighborhood.

A strange man appears after an accident in an abandoned highway in the Mexican desert, he’s rescued by a fighting cocks trainer and his grandson, who helps him recover. The man begins to perform healing miracles around the ejido, so he starts being called a Prophet. The priest of the community and the altar boy oppose his stay in the community of this uncomfortable resident.

A romance between the painters and writers: Dr. Atl and Nahui Olin arises in this era, the 20's, while Jose Vasconcelos founded the Ministry of Education and call all the intellectuals of the country for this project. Mr. President Alvaro Obregon, who feels devotion for the intellectuals allows one of the most important cultaral crusades of our history. In this liberal atmosphere where gays, the divorce, the vote for women, began to be accepted, several of our protagonists are given in love within a whirl of ideas, passions, political and ideological propositions.

The creation myth is adapted into an animated short film made by Seri indigenous children and elders.

Years after the Salvadoran military destroyed the village of Cinquera in that country’s civil war, survivors have returned to rebuild their community. Soulful, beautifully rendered, this amazing debut is an evocative testament to place, memory and the power of life to rebound from tragedy.

Iván, a man who apparently has the perfect life, lives with an overwhelming sexual desire. One night Iván discovers the new product of a company dedicated to the manufacture of sex dolls, the new launch: ERÓ, a child android with hyper-realistic characteristics for pedophiles.

Christian, a former organized crime member, seeks redemption by founding Ángeles Soccer, a team that trains kids and women on a once crime-ridden lot in one of Mexicali's most dangerous neighborhoods, aiming to rebuild the community he once harmed.

The isolation of Adela and Marcelino is common among many inmates processed without an interpreter in their native language before the Mexican justice system. Through their subjective experience, the dreams and memories they preserve of their lands in prison, they express in two voices the disorientation and the need to resist against exclusion by telling their story.