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In Mexico City, a woman is raped every 9 minutes. This film details some of the legal and social problems in the country and how it's often difficult for women to find justice. Awarded Best Film by Mexican Cinema Journalists and nominated for three Ariel Awards.
The human and divine justice are exposed through five real life stories related to the legal processes of a prison. The cases presented are: "I want to stay in jail", "Blood between women", "The raped prostitute", "The kidnapped policeman", and "Euthanasia or murder?"
Mexican comedy from 1990 written and directed by Víctor Manuel Castro.
Character study of a stay-at-home daughter, 1930s through the 1950s.
Gina, a modern business woman in her late forties, has a lover named Adrian, a journalist, who she sees once in a while just to have sex. They are both attracted to the historic figure of Pancho Villa: he admires his power while she admires his virility. As Gina helps Adrian to write a book about Villa, she discovers the similarity between Villa's relation to women to that of Adrian and hers, and that Villa's revolution never included her, nor the rest of the female half of the human species. Can the love of a woman and a man survive machismo?
On the day of his first communion, the boy Honorato is orphaned because the mafia murders his parents. Before dying, the father recommends that the son defend himself against whoever tries to harm him, so that over time he becomes a bloodthirsty and sadistic gunman, always accompanied by the ghost of his father. His fame bears in the ears of Rutilo, the boss of the central supply, who hires him to avenge the death of his son. Honorato fulfills the mission with luxury of violence and becomes a trusted man of the gangster.
A brave man arrives in a lawless town, where people live in terror, to find the scoundrel guilty of the death of his brother.
Filmmaker José Cardoso’s deeply personal Flowers is an exercise in sense-making, led by both his conscious and unconscious mind. Navigating the barrage of online news images produced each day, he transforms these into an unexpected web of connections that link an Amazonian community threatened with the destruction of their land to an extreme right-wing Brazilian President who justifies the exploitation of the Amazon by the rising price of resources precipitated by the war in Ukraine. Meanwhile, Buddhist monk Thích Nhất Hạnh teaches us to make our enemy the object of our compassion, and the filmmaker’s three-year-old son marvels at the frogs and flowers growing in the garden.