Viena and the Fantomes

Tale of a young couple who throw caution to the wind and set out in search of their true fate. Román is the son of a contemptible, right-leaning congressman. Recently enrolled in a new high school, the rebellious teen clumsily attempts to hang himself on-stage at the big talent show. Maru is the sole member of the audience to applaud, earning both students a day of detention. After bonding during the course of their punishment, Román and Maru grab daddy's gun, steal a Volkswagen, and hit the road bound for nowhere.

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 murdered body on a bridge between El Paso and Juarez bring together El Paso detective Sonya Cross and Chihuahua State Police detective Marco Ruiz.

Two stories unfold over the same long, hot day in Acapulco. The first involves Fernanda, who is forced to deal with the emergence of her ex-lover. Her boyfriend must compete with the sexual tension they share. The second concerns Jamie, a worker attempting suicide, until a girl disrupts his plan.

Moses, an old bum arrives at a small town. Silence. Nobody around. Signs of life but no human presence, as if the town were recently deserted. Moses gets scared and runs looking for somebody... nothing...just dogs. After a few drinks in the bar Moses realizes he is free to do anything. Moses fullfills his wildest fantasies. The townspeople observe him from a nearby hill. They try to warn him of the immenent danger. Moses is too busy in his destructive game.

The story of a young woman clinging on to her dream to become a beauty contest queen in a Mexico dominated by organized crime.

MALACHANCE tells the tragic story of Mika (James Ransone) and his cohorts; the film was shot in Los Angeles and on location in New Orleans and NYC.

Marisol (Alejandra Herrera) is caught between her possessive and aggressive cousin, Mauro (Eduardo Mendizábal), and passionate but inert lover, Mundo (Noé Hernández). Violence is a constant presence in their rural Mexican town, with gangs and guerilla fighters a steady presence. When Mundo has to flee, their connection turns from physical to digital even when Marisol is held captive by her cousin. Their communication via text, voicemail, and video is sporadic and frustrating, but is nevertheless a source of comfort, and their longing remains intense despite the distance. When Mundo returns, the stakes for Marisol are even higher, and it's no longer a question of whether things will come to a head, but how and when. Might their desire and desperation ultimately play to her advantage?