Frida Kahlo

Through the montage of film fragments from the Mexican Golden Cinema, it explores the cinematographic representation of of pain, violence, repressed sexuality and Mexicanness.

A soap opera actor is mixed in a real drama very similar to what he represents in his work.

Subjugated by power, the workers of a mining town organize clandestinely.

Analytical view of one of the least reported conflicts of national cinema: the Cristero movement that developed in the regions of western Mexico between 1926 and 1929, highlighting the inability to be faithful to both the Church and the State.

A taxi driver goes missing after driving a passenger out of town.

Based on a true story in the American owned Cananea mine. It depicts how the owner profits while the Mexican workers struggle to survive and are exploited for their labour.

After returning from a trip, a young dentist discovers that her home has been ransacked. Determined to recover part of her belongings, the protagonist initiates a criminal process within a corrupt and ineffective justice system that turns her life into a nightmare.

A bureaucrat gets a house and even a car on credit thanks to the support of a compadre who is a union leader, but then has difficulty paying because he is fired in a job cut despite the many years he has been working.

Documentary that celebrates 100 years of cinema in Latin America and talks about the origins and the development of cinema in this subcontinent. Its structure is based in 12 short films directed by various Latin American directors. These are: 1) "Los inicios", Iván Trujillo 2) "Cuando comenzamos a hablar", María Novaro 3) "Jugando en serio", Jacobo Morales 4) "De cuerpo presente [Las espirales perpetuas del placer y el poder] Cine Mexicano [1931- 1997]", Marcela Fernández Violante 5) "Cuando quisimos ser adultos", Edmundo Aray and David Rodríguez 6) "Cinema Novo", Orlando Senna 7) "Memorias de una isla, Juan Carlos Tabío 8) "Un grito, 24 cuadros por segundo", Julio García-Espinosa 9) "El día de la independencia", Federico García 10) "¿Sólo las formas permanecen?", Fernando Birri and Pablo Rodríguez Gauregui 11) "Todo final es un principio", Andrés Marriquín.

During his vacations, 12-year-old Manuel travels by train with his mother to the Sierra Tarahumara to spend a few days with his father, who works in the mountains with the indigenous people protecting nature. Manuel befriends Jesus, who takes him to his town and teaches him the customs of his own. Both children discover illegal loggers.

Matilde Landeta entered the flourishing Mexican film industry in the 1930s, working her way up from script girl to direct 110 shorts and, in the late 40s, to produce and direct three features, including LA NEGRA ANGUSTIAS. In this engrossing documentary filmed in Mexico City, a vibrant Landeta, now in her 70s, recalls those years. Interviews with Mexican directors Marcela Fernandez-Violante and Maria Novaro enrich this illuminating tribute.