Juan de la Loza

Four nuns are raped by a group of lepers. Although they all turn out to be pregnant, their status is hidden from them in the convent.

Luz is in jail, accused of murdering her own children. Her husband and her mother-in-law say she killed them in cold blood. Dr. Rebollar tries to help the woman, but she refuses to remember anything. Luz thinks of jail as the purgatory: it's only one step to reach the Heaven.

This historical drama depicts the waning days of the life of Antonio Lopez de Santa Anna, who waged a war against the United States that ultimately cost his nation half of its territory

Gambler-horsethief-womanizer ends up hiding out in a church-run orphanage. Spiritual regeneration stuff happens.

Angélica and José Luis have been married for thirty years and they have always lived at the same house; first with their son, Daniel, and now, by themselves. Their daily routine is threatened when José Luis loses a leg in a car accident. When they try to restructure their life, they realize their relation was already fractured and opt for silence. However, they begin a passionate search for all they have lost. José Luis takes refuge in a sexual fantasy about his young nurse, while Angélica tries to remain just as contained as she always has for so many years.

Tiré d'un fait divers authentique, l'épopée sanglante d'un couple kitsch des années quarante. C'est l'histoire de Coral, jeune infirmière méxicaine qui voue une admiration sans borne à Charles Boyer. Un jour, elle découvre dans un magazine le sosie de son idole, Nicolas. Elle le séduit, s'impose et l'aide à plumer les veuves et les célibataires. Le film transpose au nord du Mexique l'histoire des « Lonely Hearts Killers » (les « Tueurs aux petites annonces »), un couple de meurtriers, Raymond Fernandez et sa compagne Martha Beck, ayant sévi aux États-Unis à la fin des années 1940.

During 1950, Miguel Contreras Torres led a group of filmmakers to officially denounce William O. Jenkins' monopoly on film theaters, which was built throughout the country upon crime and corruption. Ever since, Uncle Miguel was ridiculed and eventually forgotten, but it is certain that his proclaim announced the separation of Mexican cinema and its audience. Discoveries may be found in the films made by Miguel, and bringing back to life these moving pictures might recover this history that was never told, a story that is almost lost and that Contreras Torres himself tried to pass on through his writings in The Black Book of Mexican Cinema.

Propped up on his deathbed, a 17th century Spanish missionary named Father Kino (Enrique Rocha) looks back on his remarkable life and relives one of his greatest challenges: bringing the teachings of Christianity to California's native population while convincing the Spanish military to respect the Indians' traditions.