Roberto Cobo

Five surreal short stories make up this Mexican anthology film.

A group of juvenile delinquents live a violent life in the infamous slums of Mexico City; among them Pedro, whose morality is gradually corrupted and destroyed by the others.

Based on the Émile Zola same name novel. The life of Nana, a French prostitute of the 19th century. The film includes numerous musical acts performed by Irma Serrano.

Some thieves confront the detectives who surprise them while robbing a factory, but manage to escape.

El Vago (Martinez) has recently won an old-fashioned billiards hall in a heated contest with the joint's former owner El Mexicano (Jesus Ochoa). The first order of business: El Vago enlists the aid of ambitious assistant El Perro (Luna) in shooting an instructional billiards video. Trouble soon begins to brew, however, as El Perro is repeatedly distracted from his camera duties by El Mexicano's sexy daughter La Pujara (Hidalgo). Increasingly aggressive in his attempts to transform the venerable gaming establishment into a techno-throbbing youth hot spot, El Perro later crosses the line when he uses his lens to shoot a pornographic video with willing exhibitionist La Pujara. As an impressive array of billiards champs descend upon the pool hall for a high profile tournament, El Mexicano comes into possession of the steamy sex tape and flies into a vengeful fury.

In Le Livre d’Image, Jean-Luc Godard recycles existing images (films, documentaries, paintings, television archives, etc.), quotes excerpts from books, uses fragments of music. The driving force is poetic rhyme, the association or opposition of ideas, the aesthetic spark through editing, the keystone. The author performs the work of a sculptor. The hand, for this, is essential. He praises it at the start. “There are the five fingers. The five senses. The five parts of the world (…). The true condition of man is to think with his hands. Jean-Luc Godard composes a dazzling syncopation of sequences, the surge of which evokes the violence of the flows of our contemporary screens, taken to a level of incandescence rarely achieved. Crowned at Cannes, the last Godard is a shock film, with twilight beauty.

Two single women share an apartment, work together, and sometimes swap boyfriends. None of their romantic attachments seem quite as stable or enduring as their friendship.

Journalist becomes a member of a boxing champion's entourage to write a book about the boxer's career.