Intrigued by the legendary Mexican military leader Pancho Villa's little-known relationship with Hollywood, filmmaker and sleuth Gregorio Rocha goes on a search for lost footage that Villa commissioned from the American Mutual Film Company in 1914, allowing cameramen to follow him into war. The footage includes some of the first battle scenes captured in "moving pictures." Rocha documents his encounters as he scours the film vaults and back rooms of institutions across North America and Europe for the seven reels of film that immortalized Villa. His research unveils a legacy of fictional and documentary depictions of Villa dating from the silent film era, revealing a world unsure whether to venerate or to fear this imposing figure and the forces of popular revolution that he embodied.

A portrait of the punk scene of the metropolitan area of ​​the Valley of Mexico in the 80s.

We follow a wanderer while he travels to conflict zones around the globe, where segregation walls have been erected. The wanderer finds stories of people who transcend their mental barriers and thus they symbolically destroy the physical barriers. They are the “wall jumpers”

We follow a wanderer while he travels to conflict zones around the globe, where segregation walls have been erected. The wanderer finds stories of people who transcend their mental barriers and thus they symbolically destroy the physical barriers. They are the “wall jumpers”

From experimental mexican director Gregorio Rocha

Starring Maribel Mejia as a young woman who goes on a road trip reeling from a string of heartbreaks and bad relationships, Minter’s early collaboration with her then-partner Rocha feels more apiece with the French New Wave influences of a successive generation. (She spoke admiringly about Godard in an interview, but described her later ideas as more directly influenced by Dziga Vertov.) There isn’t a ton of evidence of the staccato editing that would mark NADIE ES INOCENTE, but one prolonged sex scene – in which a furiously edited sequence of sound effects takes center stage over abstracted imagery – can only hint at the individual liberation to follow.

Based on historical and sociological studies, this film reconstructs and illustrates, through documentary and fiction techniques, the story of an Acme model film projector used by Mexican-American businessman and filmmaker Edmundo Padilla during his forays along the northern border of Mexico. between 1920 and 1937, as well as those transhumant film exhibitors who worked in brothels.

The protagonists travel by road and on foot to the north in search of Aztlán and along the way they find the ideal elements that make them get closer to their destination. "Audiovisual experiment on the perception of time, distances and landscape. Taking as a pretext the search for a mythical place located in the north of the Mexican Republic, this film becomes an interior search".

The protagonists travel by road and on foot to the north in search of Aztlán and along the way they find the ideal elements that make them get closer to their destination. "Audiovisual experiment on the perception of time, distances and landscape. Taking as a pretext the search for a mythical place located in the north of the Mexican Republic, this film becomes an interior search".

"Kara", in an attempt to extinguish the fire that burns him and to flee from drugs and his own frustration, sets out on a train journey. On his trip he nostalgically recalls all kinds of scenes with his gang the "Punk Shits" in Ciudad Neza.