Santiago Torres

It's Friday morning at Panamerican Machinery Inc., a company specialising in selling and repairing machines for construction and destruction. The employees are already winding down for the weekend, engaging in little rituals and routines when an unexpected turn of events shakes their peaceful monotony. Don Alejandro, the boss, lies dead at the back of the warehouse.

The film is not constructed as a lineal story, instead, each scene works as a painter’s brush freely tracing a distinctive shape; the lifestyle of the Raramuri people, the particular way in which they relate within the family, the community and their surrounding nature. Nararachi’s warm, intimate and profoundly human insight of the indigenous lifestyle and culture is so powerful that it enables the viewer to expand her horizon.

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.

Effort to construct an audio-visual dance between the body of an 90-year old man and the body of his house, that has become an extension of himself.

Vladimir doesn’t know what he is. He has all the money he wants, he is afraid of becoming schizophrenic; he is a vampire, an extraterrestrial, an eccentric millionaire, or all three at the same time. There is no doubt that he is a lady’s man who plays soccer perfectly, who can study the movements of a cabdriver and seduce the most beautiful and intelligent woman he meets.

After returning to her childhood home, Sofia faces the challenge of living day after day, immersed in a vicious circle where the world seems to stop and where the most important thing is to live hedonistically. However, Sofia will sooner or later have to face the real reason that keeps her trapped in her own life, escaping the conflict that she does not want to face.

A filmic reflection on the way in which cinema taught us to live romantic love during the 20th century, building an impossible ideal within our personal relationships. Cinema taught viewers how they had to see it, worse, it showed directors how they had to film it. Based on quotations from early cinema films, Contar el amor discusses the role of sex and violence as central themes in our increasingly broad but, at the same time, less pluralistic audiovisual universe.

A journey above and below the sea, portraying the charm and diversity of the waters of northwest Mexico. A team of urban documentary filmmakers and divers set sail for several weeks on a boat, The Sandman, and discover the unexplored: surprisingly large and friendly creatures, waters teeming with life, beauty, and movement concentrated in natural reserves of the Gulf of California and the Pacific, unique in the world.