Juan de la Loza

Deep Crimson

vendedor autos

Driven by desire and desperate for self-love, Coral and Nicolás will abandon their past lives in a journey surrounded by murder.

El Cuatrero

Gambler-horsethief-womanizer ends up hiding out in a church-run orphanage. Spiritual regeneration stuff happens.

Kino: The Legend of the Black Priest

Propped up on his deathbed, a 17th century Spanish missionary named Father Kino (Enrique Rocha) looks back on his remarkable life and relives one of his greatest challenges: bringing the teachings of Christianity to California's native population while convincing the Spanish military to respect the Indians' traditions.

Charity

Señor que baila con Angélica

Angélica and José Luis have been married for thirty years and they have always lived at the same house; first with their son, Daniel, and now, by themselves. Their daily routine is threatened when José Luis loses a leg in a car accident. When they try to restructure their life, they realize their relation was already fractured and opt for silence. However, they begin a passionate search for all they have lost. José Luis takes refuge in a sexual fantasy about his young nurse, while Angélica tries to remain just as contained as she always has for so many years.

The Humiliated

Four nuns are raped by a group of lepers. Although they all turn out to be pregnant, their status is hidden from them in the convent.

Luz's Motives

Maricarmen's Husband

Luz is in jail, accused of murdering her own children. Her husband and her mother-in-law say she killed them in cold blood. Dr. Rebollar tries to help the woman, but she refuses to remember anything. Luz thinks of jail as the purgatory: it's only one step to reach the Heaven.

The Black Legend of Mexican Cinema

During 1950, Miguel Contreras Torres led a group of filmmakers to officially denounce William O. Jenkins' monopoly on film theaters, which was built throughout the country upon crime and corruption. Ever since, Uncle Miguel was ridiculed and eventually forgotten, but it is certain that his proclaim announced the separation of Mexican cinema and its audience. Discoveries may be found in the films made by Miguel, and bringing back to life these moving pictures might recover this history that was never told, a story that is almost lost and that Contreras Torres himself tried to pass on through his writings in The Black Book of Mexican Cinema.