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Three Mexican filmmakers — Max del Río, Gabriela Ivette Sandoval, and Hugo Villaseñor Alcázar — share their processes and challenges around a single question: How can an independent film get seen? Through the eyes of insiders, the documentary reveals the complex journey behind making cinema visible in Mexico.
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A film student, who denies being in love with his teacher, wonders what cinema is, what love is, and why we do what we do.
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The Mechanics of Film
One night, in a small bakery in a village in northern Spain, we accompany a baker who, through the contrast between the noise of heavy machinery and abrupt silences, works in solitude. His son, the author of the work, depicts the process: he projects his artistic and class concerns within the world of cinema by comparing the production of bread and the mechanisms of cinematographic creation.
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January The 28th
In Culiacán, Sinaloa, 11-year-olds Fabi, Josué, and Francisco bond over shared struggles in their elementary school and use a film workshop to express the violence that surrounds them. Six years later, they reunite to reflect on their experiences and the unsettling normalization of violence in their lives, exploring its impact on their futures.
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The Server
A newly arrived immigrant to the United States struggles to make money working as a server, but his inexperience and anxiety threaten to make him fail, forcing him to master the job in order to survive in his new home.
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La última escena
On her first student film shoot, Camila, the director, discovers that her boyfriend, Miguel, an actor, is cheating on her with his co-star. Upon learning of the infidelity, Camila questions her relationship with Miguel and her passion for filmmaking.
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Cinema Berlín
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Cinema for Everyone
Cinema is an art that brings joy to millions of people around the world. However, it is difficult to create and produce, but there is an organization that teaches children how to make films so they can create the stories they dream of.
2024
On my way to the cinema I recognised the remains of what once was
In Cañete there was a large movie theater in the center of town until the 1980s. At that time many things still worked. From a child's point of view, the short film transports us to an ordinary afternoon in Cañete, when people still happily went to the movies despite how difficult life was.
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El cine que nos forma
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NADIR
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Andrea
A transgender girl runs away from home and is invited to live with a strange photographer who pushes her to help him pay his debts.
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Cuando tu sangre espese
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Potocinema
A personal exploration by the director, who uses cinema for a social, architectural, and artistic tour of San Luis Potosí, scattered with passages from the filmmaker´s own past.
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I Have To Leave
Antony, a nurse shaped by his father's early absence and the death of his best friend, moves through his days in a quiet state of disconnection. One night, he encounters a mysterious old man who claims to be a “translator of problems.” Among the buildings of Tlatelolco, hospital wards, and the hidden streets of Mexico City, the two embark on a journey where, little by little, they help each other heal and reframe their understanding of family, death, and salsa.
La vida d'Antani
Behind the railroad
The director of this film travels to meet her grandmother, a woman who lived alone in a vast house in the middle of La Pampa. The film captures the emotions of this journey into the past and delves into images of a bygone era, while also recapturing the simple joy of reuniting with loved ones and places that were once precious.
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Stay
After experiencing several nightmares in which his mother dies, Diego begins to question the truth of his reality. When he realizes that the nightmares are actually memories, Diego must decide whether to stay with his mother in this reality or return to the reality where she no longer exists.