Miguel Salgado

Gustavo travels to the desert of Wirikuta in search of native species for his research. During his journey into the desert a series of strange events haunt him until one night he is assaulted, losing all of his belongings. The will to survive forces him to start the trek across the desert. It seems all is lost until Ana, his dead wife, appears. With the help of an old Huichol, Gustavo will confront his past and present life.

Two brothers, Samuel and Rodrigo, live with their mother in a suburban town. One day the mother, who has mental health problems, disappears leaving nothing behind but a note. David Pablos is a young Mexican filmmaker, born in 1982. His first short film, El mundo al atardecer, was made in 2007. La canción de los niños muertos (2008) was his second short film; he presented his first feature-length film Una frontera, todas las fronteras (2010) at the Berlinale Talent Campus before coming to Venice with his second film, La vida despues, for the 70th Venice International Film Festival.

On their way back home from a baseball academy’s tryouts, Pedro and Lucio are taken hostage and turned over to a criminal group. The teenage friends are forced to fight each other to death; Pedro defeats Lucio and manages to escape. Pedro receives help and refuge with Lucio’s family and he witnesses the family’s collapse and pain. Pedro is tormented with guilt and fear, he cannot tell his friend’s family the truth.

After taking part in an execution by lethal injection, a doctor begins to feel overwhelmed by guilt. He decides to seek a way out.

Valeria's family is all love and harmony. However - when Valeria decides to terminate her piano lessons- a secret comes to light- and everything inside the family starts convulsing in an atonal tragedy....

A woman is said to have embalmed her daughter, who died from a scorpion sting, and displayed her in a store like a mannequin. This short film revolves around a bridal shop mannequin that comes to life, and its story is inspired by a Chihuahua legend from the 1930s.

Mexican feature film

The imprint of the past is made present by the return of three migrants to a community in the upper Mixteca region of Oaxaca, where the three stories intersect.