Ayotzinapa 26

An anthology feature of 10 stories of romance set in the German capital.

Made up of 10 short films, 'Revolucion' analyzes through the eyes of the directors what is the revolution today and what it means to the young minds of Mexico.

A woman is questioned about whether she loves her fiancé.

While vacationing at a beachside resort, a single mother faces inevitable separation anxiety when her 15-year-old son — who is also her best friend — discovers magical chemistry with a girl his own age.

A story of a teenager and the strange events that take place in his small town.

Football seen through the eyes of some of the best directors of the world.

Flama and Moko are fourteen years old; they have been best friends since they were kids. They have everything they need to survive yet another boring Sunday: an apartment without parents, videogames, porn magazines, soft drinks and pizza delivery.

The exhibition 'The Complete Letters' features epistolary works defined by cinematographic creation. This is an experimental communication format used between pairs of film directors. Although each director is situated in a location geographically distant from that of their partner, they are united by their willingness to share ideas and reflections on all that motivates their work. Within this space of freedom, the directors featured in the exhibition examine their affinities and differences, within an environment of mutual respect and simultaneity of interests and with notable formal variants established in each of the correspondences.

Susie is obsessed about losing weight, thus being "bonita" and not "gorda" - the two keywords in the original Spanish title. She calls on a fairy godmother to grants her three wishes. Susie resorts to these to become the most beautiful woman in the world.

Marcos is a 65 years old artist. He works in a gas station, depressed and annoyed with his life because he has never been able to exhibit his paintings. One day, Luis a young thief who's 13 years old, enters to his house thinking it was empty. Luis is the only one who knows about Marcos art. Suddenly, a kind of friendship starts between Luis and Marcos. And both begin to find new answers about life and art.

A doctor can predict the death of their patients (Terminal Case), an old man meets a teenager through an ad in the newspaper (Classifieds), two young people are assaulted in the historic center of Mexico City (We're Everywhere), a mechanic confesses that he did not fix the brakes on one of the cars in his workshop (Intolerant), two children witness how some students get beaten while riding the bus (Juliet), Mariana Rodriguez shows us forms in which murals by David Alfaro Siqueiros are constructed (Siqueiros Model), a desperate woman seeks medicine for her mother who has terminal cancer (Ambulance Music) and finally a voyeuristic man asks for assistance to his upstairs neighbors while someone is making love (Neighbours). Eight Mexican films packaged in a 90-minute feature, because life is SHORT.

Ceci, a seven year old girl, has to keep a huge secret, but she doesn't completely understand what is the secret about. The life of her family depends on her silence. But what exactly must she keep silent about? Ceci and her mom live hidden from military repression in Argentina. Ceci asks herself: what must she say? What should she really believe and do in order to deserve the love of her mother and others?

A young man from the suburbs of Iztapalapa in Mexico City is casted as the lead actor for a new film. When the film opens at the Berlinale, he is consterned about how European people views Latin American films just as a sort of misery porn.

Rosa is a Mexican woman who, at the age of 17, migrated illegally to Austin, Texas. Some years later, she was jailed under suspicion of murder and then taken to trial. This film demonstrates how the judicial process, the verdict, the separation from her family, and the helplessness of being imprisoned in a foreign country make Rosa’s story an example of the hard life of Mexican migrants in the United States.

Its the story of five women from different countries who were victims of domestic violence and their struggle to face it and survive it. It will be an approach to this complex and extensive problem pretending to transcend the typical and stereotyped approaches.

Orlando (Juan Manuel Bernal) is a neurotic dubbing director of series B that desqui-ta of all your frustrations and anger with their coworkers. Orlando lives with Sonia (Mariana Gaja), a woman "new age" in quest for inner peace. He, in crisis, stifled by the love of So-nia and tempted by the novelty of another woman, can not desci-FRAR the complicated language of life as a couple of young people, and going from flower to flower revealing its inability of being alone. On the other hand we have to Mauritius (José María Yazpik), a young and awkward to relate hermit who loves and despises while René (Cecilia Suárez), a beautiful woman "postmodern"

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.

Cutberto Ortíz Ramos, a young trombonist, was kidnapped, along with other 42 students, on September 26, 2014, and murdered in Ayotzinapa, México.

“El Chano” is a homeless man who wanders like a ghost through the streets of eastern Mexico City. Something hurts inside; for some reason has he abandoned himself to such misery. One day he meets an old acquaintance, Rosa, who asks him for a favor: “El Chano” must help her godson, accused by corrupted cops of sexual abuse and murder. He comes out of his lassitude and looks for ways to help the boy, but what can be done that is legal? Corruption, violence and inexorable fate are the main topics of Hari Sama’s third feature film that draws upon the power of sequence shot to tell this story.

Lucia must find new meaning in her life in order to move forward after a suicide attempt.Dealing with her grief over the death of her son,she establishes new ties and notices small miracles.An encounter and unexpected journey open up the space for her to understand that she can continue to live and to discover that eternity resides in a single instant.

A man awakens in a dystopian reality.

It's a life told in four seasons. It is the orbit of a man who comes close to and steps back from the light, experiencing weather transformations in the garden of the soul. A documentary about the meticulous construction of Japanese tea houses in the Mexican Ajusco, as an excuse to discover a mind that at first glance might seem obsessive and eccentric.

Beto works at a gym as a night security guard. He has no family. He is a lonely man and the secret he keeps isolates him even more: he suffers from a mysterious disease that is turning him into some kind of zombie. He struggles, but he cannot hide it, so he decides to quit his job. However, before doing so, he unveils his condition to the manager of the gym, Luly, and a very unusual friendship arises between them. Sebastián Hofmann’s debut is not a horror film itself, nor is it a film about zombies. Halley is a drama that explores loneliness and body decay.

A resident of New York City is trying to keep his family together when he is thrust into new problems of staying alive

While staying at a tropical resort, a man becomes convinced the American timeshare company running it has an evil plan to take away his loved ones.

One could describe Lost as a family documentary in the first person; but also as a film that goes through a good part of the history of Mexican cinema. Viviana García Besné tells how it was that her family, ‘the Calderóns’, played an essential role in the production, distribution and exhibition of that primitive “other Hollywood”. Lost in Time is a touching film because of those surprises the director finds each time she comes across with that invaluable family footage, which was more forgotten than lost; or when her relatives tell stories she thought to be hilarious and made up, and which she later finds out to be true (like a shattered romance between her grandmother and Ricardo Montalbán, for instance). García Besné makes the most out of the contrasts that surface between the different visual formats she uses and all that found footage she finds. Lost in Time is a master class of cinema, any way you look at it.

There is something that has tormented Cristina since she was the age of her little daughter Regina and that could endanger the happiness of both of them. Because the scars of a traumatic past can be passed on to children and that is what Cristina wants to avoid at all costs but does not know how.

After getting out of jail, where she learned to care for the sick, Alma, an albino woman, is determined to recover at any cost something much more important than her own freedom. In order to do so, Alma must spend her nights taking care of Clemente, a hypochondriac compulsively obsessed with avoiding sudden death. Their relationship moves through suspicion, fear and compassion to tenderness and love.

Carlos has an empty belly and tries to dominate nature by obeying it. The only two pigs in his village are seductive meat. He already has the table set, without knowing that the pig affection will tell him what the pantheons are full of.

Ramona's compulsive life becomes a wreck when she finds out, after a long search that Osvaldo, her only son, has died.

Ramona loses her tranquility when her son Osvaldo disappears. And so, she begins a search that leads her to the coroner, and to acceptance of the possibility that he has died. Finally, she concludes that her son is a live.

A casual encounter between Adriana and Sergio, two former high school friends, triggers the beginning of the game of the keys where 4 couples generate new sexual and emotional combinations in a dangerous and lustful game.

In the state of Guerrero, México, activists Coni, Juan and Mario rebel against impunity, regardless of the sacrifices and risks - even mortal - that their struggles involve.

After 50 years, a former soldier returns to Tlatelolco square, where he participated in the massacre of dozens of students.

A captivating diva, incarnation of Acapulco, remembers when she was the most famous movie star of Mexico. Meanwhile, Marco, Javier, Félix, Alfonso and Yolanda are getting ready for Easter Week, the period when the city revives, recovering for a few days its past glory. Each one tries to survive his own way in that paradisiacal set that everyday looks more like hell.

Ivan, a 14-year old boy, lives with his uncle Jaime, a mediocre dealer of used car parts. Both of them dream with a better life and are stashing away their money in order to emigrate ilegally to Chicago shortly. When Jaime realizes that he needs much more money than he expected in order to pay the "Coyote" that will help them cross the border, he decides to introduce his nephew into the world of car-part theft. Ivan learns quickly the know-how of his new trade and convinces Efrain, his best friend, to help him. The kids enjoy themselves together and carry out Jaime's orders skilfully until Ivan realizes that his uncle's intentions for the trip have changed since they first made their plans.

The second film from Aarón Fernández is a Spain-Mexico-France co-production already screened as part of Films in Progress at the 60th edition of the Festival. On the desolate coast of Veracruz, young Sebastián, 17, has to run his uncle's motel single-handed, renting rooms by the hour. That's how he meets Miranda, a regular customer who goes there to wait for a lover who often arrives late, sparking a fleeting game of seduction between the two.

A small film crew goes through several locations including Europe, New York and Mexico.

Javier decides to go to Denmark, where he will start a journey of silence, memories and changes. He will end up in Vederso, a little village where the masterpiece "Ordet" was made.

An unprecedented way to watch contemporary dance through animated drawings. Choreographer Mathilde Monnier and cartoonist François Olislaeger co-sign this film and are also its main characters. They highlight the links between walking and dancing, real life and the stage.