Summer of Goliath

Pereda returns with a small, mysterious and moving tribute to Chantal Akerman, conceived as a series of joyful impossible letters addressed to the great disappeared from the cinema, to answer her fictional question about renting her bright apartment in Coyoacán.

When Gabino's father returns home after a long absence, the two men awkwardly attempt to re-establish a relationship; but Gabino and his mother quickly tire of this man who has become a stranger to them and decide to kick him out, before realizing that he has already left. Gabino eventually tracks his father down and spends time with him in his rundown apartment, trying to figure out if there is any possibility for the two of them to ever truly communicate. Though Greatest Hits continues Pereda's exploration of his perennial themes of absence, masculinity and the difficulty of maintaining a family, it opens up a whole new set of aesthetic questions through a bold formal gambit: halfway through, the entire narrative reboots and starts from scratch with another actor playing one of the key characters, leading to different iterations of events already witnessed.

Through a series of interviews and enactments we learn the story of Nico and Amalio, two children who lost a friend while climbing a mountain. Documentary and fiction seamlessly merge creating a hybrid, poetic film.

A metacinematic reflection on the nature of representation and the ongoing drug war in Mexico, Nicolás Pereda’s Flora revisits locations and scenes from the mainstream 2010 narco-comedy El Infierno, exploring the paradoxes of depicting narco-trafficking on film—its tendency both to romanticize and to obscure. To screen is both to project and to conceal.

Luisa and Gabino visit their parents in a mining town in the north of Mexico. Their father’s only interest in them is sparked by Luisa’s actor boyfriend when he acts out the role of a narco kingpin. To cope with family tensions, Gabino imagines a parallel reality of detectives and organized crime.

On the Oaxacan coast of Mexico, rumblings of previous times are never far from the surface. Tales of shapeshifting, telepathy and dealings with the Devil are embedded in the colonization and enslavement of the Americas. Characters from the Faust legend mingle with the inhabitants, while attempting to colonize and control nature through a seemingly never-ending building project. Through literature, myth and local entanglements, the frontier between reality and fiction, and the seen and unseen, no longer apply.

The Palace is a documentary that follows the everyday life of seventeen women who live together, sharing a large house for emotional and financial reasons. They help each other to train for various jobs. Most become nannies, domestic workers and private nurses for elderly patients.

A series of auditions is taking place in a museum-like living room. Various men improvise or deliver prepared lines, rehearse gestures and slogans, aim guns, and collapse as if mortally wounded. The theme of revolution is repeatedly invoked. In between, there are scenes of a desert landscape. Three men seeking to join the Mexican Revolution at the beginning of the last century have lost their way. Conflicts smolder among them, water is running low, and mutual mistrust is beginning to take hold. Placing the reenactment of a possible historical event alongside the preparations for it serves to underline the theatricality of every cinematic account of history. Moreover, on a kind of playful meta-meta-level, the scenes in which the actors feel their way through set pieces from a Beatles song or standard battle slogans allow the viewer to witness the simultaneous construction and deconstruction of a collective myth of revolution.

Three friends – a trio in love – get together after an audition. Their prosaic exchanges take a different turn when they remember how they met.

Made for the Venice Film Festival's 70th anniversary, seventy filmmakers made a short film between 60 and 90 seconds long on their interpretation of the future of cinema.

Carefully shot in black and white, All Things Were Now Overtaken by Silence is a meditation on the filming of a strange play: a fascinating monologue by actress, director, performance artist and political activist Jesusa Rodriguez of Sor Juana Ines de la Cruz’s poem First I Dream.

Vicente (Gabino Rodríguez) is a young farmer in a rural village who scrapes by while taking care of his ill grandmother. Several of Vicente’s uncles intend to their ailing mother’s land without her knowledge. Vicente seeks help from the municipal president who, between shooting hoops on a desolate court, tells him that if he wants justice, he must head to the capital to meet with government officials. Although he hasn’t seen her since he was a child, Vicente sets off in search of his mother, who works as a maid in maze-like Mexico City. With the help of his mother’s employer, a sophisticated middle-aged woman, he finds the government offices where he presents his case. His situation isn’t easily resolved, especially since he does not have the deed to his grandmother’s plot of land, and Vicente finds the complexities of the legal system to be completely overwhelming.

Enigmatic and deceptively playful in tone, this film from Gabino Rodríguez, in collaboration with Nicolás Pereda, boldly transforms mundane, realist observations at a rural Mexican schoolhouse into fantasy and a sly comment on childhood, rituals, and race.

Minotaur takes place in a home of books, of readers, of artists. It’s also a home of soft light, of eternal afternoons, of sleepiness, of dreams. The home is impermeable to the world. Mexico is on fire, but the characters of Minotaur sleep soundly.

An old man lives alone in a shabby cabin in a remote mountainous area of Mexico. His house is set to be demolished in order to facilitate the redevelopment of the area. He doesn't know how to protect his house. Time goes by and one day a young man shows up on his doorstep. Looking exhausted, he starts his new routine here, cooking and doing laundry just like the old man.

Tales of Two Who Dreamt is set in a housing block in Toronto and pivots on representation and self-representation. Here, a Roma family rehearses the stories of their past for the upcoming hearing on their residency status.