Óscar Chávez

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A couple on the verge of getting married gets mixed up with a gang of thugs in this routine crime drama that underscores the Socio-economic disparity in the Mexican culture. The upper-class couple rides along with outsiders who go club-hopping and resort to petty thievery. After their adventure, the couple questions whether or not they are right for each other.

Having an example of piety and Christian devotion in their midst may help the girls in this whorehouse reform. Maybe.

During the Mexican Revolution, a hardened and rich lady landowner is overtaken by the violence of the times. Losing her land and house, she falls in love with a revolutionary leader that is killed by a sadistic and corrupt federal officer. She takes the revolutionary flag and leads a rampage of violence and destruction.

Héctor and María meet again after eight years of not seeing each other. She works as a magician in cabarets and he robs houses. María convinces Héctor to become a magician and work together. Life seems to smile on them until one day, when Maria travels to another city, the couple's situation will be overshadowed by an unfortunate event.

A boy discovers desire and love, and that even when they are close, they can sometimes be far away.

Raimundo, a wealthy man, died of a heart attack. The notary reads out Raimundo's will, leaving all his estate and companies to the widow, Luz, with the surprising clause that she will remain without a man for the period of two years, during which his trusted attorney, Arturo, will be in possession of the whole patrimony. Luz being much younger than her late husband, resents this clause that will keep her captive of the dead man for so long. Her attempts to seek release in the night spots of the town do not prove satisfying. Lucia, the maid, starts an extortion scheme against the widow, menacing to denounce the murder of Raimundo with venom, as Luz and Arturo were lovers. The faithful cook and the gardener are dismissed and Lucía literally takes her employer's image, clothes, and manners - forcing Luz to play humbly to her (progressively insane) demands.

Farm-girl, seduced and abandoned, goes to the big city to have her baby and live out her shameful soiled disgrace away from her birth people.

Three stories: A young man disobeys his aunt by not killing a cat. An orphan boy, in love with his cousin, is fond of war novels, imagining himself as a hero. A couple of schoolboys in love wander around the city and forget the brutality of their respective homes.

A young and innocent girl is betrayed by the man whom she loves and has to become a prostitute because her family rejects her.

In 1930s Los Angeles, Mexican immigrant Pedro J. González becomes a pioneering Spanish-language radio star before being wrongly convicted and imprisoned at San Quentin.

In this thinly-veiled, though uncredited, new version of Hemingway's "To Have and Have Not," here a prospective series pilot, an ex-sailor living in Key West, chartering out boats and struggling to forget his past, is lured into a dangerous rendezvous with Cuban gunrunners.

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.

Anthology film: three "sophisticated" rom-com scenarios.

Ambitious young woman thinks she's on he fast track to fame and fortune, but her manager's a sleazeball who gets her hooked on IV drugs and pimps her out at random.

"Mexico begins where the roads end ”. Mexican writer Carlos Fuentes tells us about the history of Mexico: its invasions, its revolutions, its sacred lands, its forgotten legends, its religious rituals and this frightening misery. François Reichenbach and his camera sink into the dust, on this sacred land, where "the land never ends."

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

50 years after the Mexican Student Movement of 1968, this documentary elaborates on how singing and chants played a significant part during the marches.

Supported by current images and national and international archives, this documentary narrates the life of the singer Amparo Ochoa, who learned music from her father, in Sinaloa. His passion for teaching, the decision to live in Mexico City, his indispensable role in the Mexican scene of the seventies and eighties, as well as his constant criticism of the government, are narrated by family and friends, such as Óscar Chávez, Gabino Palomares and Mercedes Sosa, who speak of the consolidation of the artist as a fundamental figure of Mexican popular song and feminist militancy.