María Inés Roqué

In this deeply moving dialogue between mother and son, Mexican Tzotzil director Xun Sero confronts his past with honesty, understanding and forgiveness. Growing up without a father, he blamed his mother for the paternal absence in his life; this, for him, became his first act of violence against the feminine and his own mother. Societal pressure and shame prevented his mother from speaking about the realities of violence in her childhood and within her partnership with the director's father. Guided by the desire to understand who his mother is, Sero has created an extraordinarily sensitive first film where both mother and son open a dialogue in an attempt at self-discovery. Bravely, together, they open the door to a room of darkness and unknowns and begin to walk down a path of healing.

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April 1994 in the Lacandona Jungle, Chiapas, México. The Zapatista women talk about the living conditions of Mexican indigenous populations and the life of peasant women. They explain the reasons for their struggle and their uprising.

Dad Iván, is the testimony of the daughter of a Montonero guerilla leader that died during combat: Iván Roqué, the Iván in the title and father of the director. The documentary exposes in a moving way the difficult relationship between a daughter and her heroic, mythified father. At the same time it also becomes not only the reflection of a daughter but of an entire generation, about the feelings of abandoment, abscense, the tragedy, the exile and death. Feelings, ideas, dreams and facts are confronted. Tears are shed as much as admiration is expressed for the father, he is questioned as strongly as he is veneered.

Marlene's journey is one of rediscovery. Once she saw darkness as the truest reflection of her soul—a place of comfort and identity. But life's trials reshaped her understanding, transforming that darkness into a wellspring of resilience, insight, and unexpected strength.

In three sleepless nights, Henrietta experiences a psychotic crisis, in which her self becomes detached from her body. We do not speak of madness, but of a situation out of control. In three acts, the denial of self, the immobility of the body and the mind-body separation are addressed through visual metaphors. These sensations conclude in Henrietta's delirium: the outside and inside of her house are mixed, there are shadows that haunt her and she finally falls into a bottomless spiral.

Documentary about Ricardo Cavallo, a repressor who worked at the Navy School of Mechanics, who later took refuge in Mexico, and was finally extradited to Spain.