Alfonso Borbolla

A curse is placed on grinchy Chuy, who wakes up to find he's lived a full year, but is doomed to remember only Christmas Day. Every year. From now on.

After Lucía and Jorge break up, she starts dating a friend, and he starts dating an old crush. But will they find their happy ending?

Twenty years have passed since those two apartments in the heart of Mexico City were the battlefield of a war of the sexes between Ana, Carlos, Andrea, Miguel, Tomás and María. All that is left of those apartments are memories and the image of Tomás' dead body at the bottom of the elevator shaft. Their lives have changed, their families have grown and new and unexpected characters have come to unsettle their daily lives and trigger a chain of events that will make them realize that modesty has been replaced by public disclosure; sex is only an app away; but love...love is still something elusive that everyone in today's banal and chaotic world is seeking.

Mike Todd is a Broadway producer struggling to produce the film. Around the World in 80 Days. In Mexico, Mario Moreno, a young entertainer is struggling to get some respect, and he manages to become a star. A twist of faith makes them partners. Together they won the Oscar for Best Picture.

Raffi, nearly forty and defiant of the system, has cycled through rehab countless times. After being kicked out of the clinic in his fifth attempt to get clean, he is forced to return to the person he despises most: his mother. Two days later, she kicks him out, and Raffi turns to Trino, his last remaining friend, for refuge. When he learns that his high school crush, Inés, is newly divorced, Raffi vows to win her over, even if it means getting a regular job, growing up, and finally taking his recovery seriously.

Rodrigo Rojas is a telenovela actor anxious to break away from his melodramatic roles. When a prominent film director arrives in Mexico, he jumps at the chance to make it in the movies, despite the humiliating blows to his pride.

Mexico’s half-forgotten B-movie master, “involuntary surrealist” Juan Orol (1897–1988), receives a pitch-perfect tribute in this deft, irresistible love letter to a self-made man of showbiz whose career spanned half a century and nearly 60 films. Abetted by an all-pro cast, del Amo’s brilliant interpretation of Orol’s life exudes a droll underdog charm, and almost every frame is an infectious homage to the golden age of cinema, the wiles of memory, and the art of fantasy.

A retired couple will have to defend their home against an unpredicted menace: Their kids moving back.