Cultural Extension

A journey that begins in prehistory, passes through the Mesoamerican peoples, and shows the instruments that were used in the conquest and the colony, in order to learn about the evolution of Mexican music.

Short film commissioned by CineDifusión SEP as part of the "Jornadas Casals" music program, centered around the Spanish cellist and, in this case, illustrating the music of Johann Sebastian Bach.

Short film commissioned by CineDifusión SEP as part of the "Jornadas Casals" music program, centering on the Spanish cellist and, in this case, illustrating the music of Claude Debussy.

Documentary short film about Enrique Cabrera Barroso, a Mexican university student leader of the 1968 student movement and member of the Mexican Communist Party.

A compilation of 20 Mexican children's song, composed from 1850 to 1950, ranging from lyrical to surrealist, illustrated with digital animation.

A pair of spies disguised as tourists are stalked by mysterious figures in Mexico's most attractive locations.

Forbidden Stories of Pulgarcito is a film produced in 1980 by the FAPU, a mass organization of the National Resistance, one of the five organizations of the Farabundo Martí National Liberation Front, FMLN. The film was filmed in El Salvador in late 1979 and early 1980 and is a testimony of the daily struggle of the people against the military regime. The team of filmmakers coordinated by Paul Leduc collects the testimonies of the main actors in the conflict that led to a civil war that lasted 12 years, causing 75,000 dead and a million displaced, in a country of 5 million inhabitants. During those years, the United States sent a million dollars a day in aid to the Salvadoran army.

In the summer of revolt 1968, student Leobardo López Aretche captured the protests in Mexico City, and the state’s brutal response, up close – and like many of his subjects and fellow comrades, would pay a high price for his audacity. Fifty years later, his movie is no longer a secret.

A thorough analysis of the socio-politics of Mexico, within the historical context of the Mexican Revolution reality. Includes footage from the 1910s, interviews with farmers, politicians, intellectuals, middle class, union, etc, as well as scenes from the life of an Indian family in Chiapas, their religious rituals, their crops, trials and bilingual schools. The film ends with the slaughter in the Plaza de Tlatelolco in 1968, during the infamous Olympics.

Through the direct testimony of the Indians, the phenomenon of acculturation suffered by the Otomí minority of the Mezquital Valley, one of the poorest rural areas of the state of Hidalgo, in Mexico, is analyzed. It tries to show a broader problem that encompasses a large part of the Continent; how other peoples, other ethnic groups, are exterminated with all kinds of mechanisms, from brutal repression to the most sophisticated cultural penetration.

Documentary about the XIX Olympic Games in Mexico City in 1968. Preserved by the Academy Film Archive in partnership with Sony Pictures Entertainment in 1999.

A dramatization of John Reed's newspaper accounts of the Mexican Revolution. Considered the first real film in Mexican cinema to be made on the Mexican Revolution.

Documentary about the founding of Ciudad Nezahualcóyotl on the outskirts of Mexico City in the sixties.

While Mexico swims in the oil veins that were deeded to him by the Devil, a bureaucrat is thrown into a whirlwind of intrigue and international espionage where he discovers that the guts of the beast in charge are one and the same, and the evacuation conduit itself. : We are the shit of that monster. At the same time, a man and a woman discover that behind their passion there is a dark reality that drives them to disguise as action what is only hunger, suffering, desire.

A series of images, music and sounds which transport through Mexico's history, without any narrative sequence. The film spins constantly round the question 'Where are the singers from?'

This film is a chronicle of painter Frida Kahlo, and her encounter with the personalities of her time. Despite being confied to a wheelchair as a result of polio, operations and amputations, she faces and traces some of the most colorful and controversial aspects of Mexican history, during the dominant time of Mexican muralism.