The story of a mother condemned to life in prison for murdering her husband, who is granted one last afternoon at her home with her children where each recounts dark stories from their shared past.

Seventeen-year-old Carlos doesn't fit in anywhere, not in his family nor with the friends he has chosen in school. But everything changes when he is invited to a mythical nightclub where he discovers the underground LGBTQ nightlife scene: punk, sexual liberty and drugs.

Lidia and Manuel are a newlywed couple whose families have only met once. Now, they get together again to celebrate Mother’s Day. But there is a secret in the family that as soon as it explodes, will change it all. Esmeralda and Rosa must lean on each other to get through the day that seems to have something against them.

After turning 40, César is invited to a culinary contest in Cancún, but a bitter discovery threatens to destroy his family as well as his chances to win the competition.

A Latin American horror anthology where filmmakers from conjure shadows rooted in their land, their ghosts, and their history.

Four friends travel to a cabin in the woods during the weekend to reinforce the bond of friendship between them. A group of men begins to harass them gradually. The results become bloody and catastrophic.

Mateo, an ex-employee of a self-service store has turned into a zombie. His conscience and memories remain intact, therefore, his life has become a deep thought about the meaning of life he would like to share; the only problem, Mateo is no longer able to share what he thinks.

A filmic reflection on the way in which cinema taught us to live romantic love during the 20th century, building an impossible ideal within our personal relationships. Cinema taught viewers how they had to see it, worse, it showed directors how they had to film it. Based on quotations from early cinema films, Contar el amor discusses the role of sex and violence as central themes in our increasingly broad but, at the same time, less pluralistic audiovisual universe.

A statement about retrograde sexism and false male deconstruction in Mexico. Roberto meets María, his ex-wife, to give her the monthly child support money for Natalia: their daughter. He tries to show María that he has changed but fails to hide he is the same he's always been.