Juan José Gurrola

Cristina Carver (Angelica Maria) finds herself in dire straits after she arrives to spend some time with her TV-reporter husband (Dean Stockwell) who is visiting a Latin American country run by a military dictator. After a car accident one day, Cristina brings the helpful Col. Kostik (Donald Pleasence) home and then kills him in self-defense when he violently attempts to rape and murder her. Terrified, she covers up her act and hides the body, yet in spite of her husband's efforts to protect her, a local police detective starts to figure out what really happened.

A l'aube de sa vie, la peintre mexicaine Frida Kahlo se rappelle des événements marquants : ses premières toiles, son amitié avec Trotsky, sa relation avec le peintre Diego Rivera, ses amours, ses engagements politiques...

A young woman of wealthy class rejects the world that surrounds her and dies, but in her wake a shaman resuscitates her. She is dedicated to transgressing all the rules of her society. In the end a strange character offers him a flower and they both love each other.

Hors-la-loi, El Topo défie pour l'amour d'une femme les Quatre Maîtres du Désert. Les ayant vaincus, sa conscience s'élève jusqu'à ce que sa femme le trahisse. Sa nouvelle vie d'homme saint commence alors et El Topo s'engage dans la libération d'une communauté de parias.

After being unjustly accused of corruption and seriously injured in prison, Miguel's personality will merge with the characters he reads in his police novels.

For Robarte el Arte [Stealing the Art] (1972), Juan José Gurrola together with Gelsen Gas and Arnaldo Coen supposedly stole an artwork during Documenta 5 in 1972 and represented it with an asterisk of scotch tape on a rock in the Wilhelmshöhe Park. Sequences of this performative action are montaged like in a silent movie with panels of cut-up newspaper text blocks, installation shots from the Documenta exhibition inside and outside Fridericianum, and scenes from a horror porn movie based on the story of the serial killer "Goyo" Cárdenas – his case became a sensation on Mexican media in the 1940s and inspired several copycat murderers imitating his crimes – and underscored with a dramatic soundtrack. With Robarte el Arte, the artists satirically destabilize Documenta’s institutionalized role to chart the current art developments and thus setting the foundation for a so-called canon as Eurocentric.

Two stories: 'Tajimara' the platonic love of a couple; and 'Un Alma Pura' (A Pure Soul) about the incestuous love of some siblings.

For Robarte el Arte [Stealing the Art] (1972), Juan José Gurrola together with Gelsen Gas and Arnaldo Coen supposedly stole an artwork during Documenta 5 in 1972 and represented it with an asterisk of scotch tape on a rock in the Wilhelmshöhe Park. Sequences of this performative action are montaged like in a silent movie with panels of cut-up newspaper text blocks, installation shots from the Documenta exhibition inside and outside Fridericianum, and scenes from a horror porn movie based on the story of the serial killer "Goyo" Cárdenas – his case became a sensation on Mexican media in the 1940s and inspired several copycat murderers imitating his crimes – and underscored with a dramatic soundtrack. With Robarte el Arte, the artists satirically destabilize Documenta’s institutionalized role to chart the current art developments and thus setting the foundation for a so-called canon as Eurocentric.

Two stories: 'Tajimara' the platonic love of a couple; and 'Un Alma Pura' (A Pure Soul) about the incestuous love of some siblings.

A young woman of wealthy class rejects the world that surrounds her and dies, but in her wake a shaman resuscitates her. She is dedicated to transgressing all the rules of her society. In the end a strange character offers him a flower and they both love each other.

Alberto Gironella was a Mexican plastic artist, considered one of the exponents of La Ruptura.

First of two films that make up the collaborative film "Los Bienamados" (The Beloved, 1965). It narrates the encounters and misunderstandings of a pair of lovers during the years, from their adolescence to maturity.

First of two films that make up the collaborative film "Los Bienamados" (The Beloved, 1965). It narrates the encounters and misunderstandings of a pair of lovers during the years, from their adolescence to maturity.