Sofía, a well-to-do socialite and her husband must wrestle with the impact of Mexico's 1982 economic crisis.

Ariadna, an elderly woman, is overwhelmed by the pressure of leaving her sister in a nursing home, without having enough money. After robbing a supermarket for the first time, Ariadna will find an escape from the weight of caring for a family member with dementia.

After an unidentified earthquake-like ground shaking, Mara and her nurse are visited by their neighbor. Together, the three women begin to experiment a strange and slow catharsis.

A heart-warming story of Fede who discovers his passion to photography and his two new friends help him to find a way from his loneliness and four walls of his apartment. The three friends - an obese Fede, his brother-in-law Ramón and Paulo, a lonely teenager who loves comic books - form a friendship that completely changes their lives.

Ana, a 7 year old girl, tries to understand and be a part her grandfathers funeral despite her mothers efforts to keep her away.

Fernando cannot forget Sofía. She left some time ago and still the littlest things remind him of her. When he meets Liz, he starts to manipulate his own memories so that he can move on, but his own mind has created a strange being that will stand in his way.

Uzi is the name of a firearm, but also is the diminutive of Uziel, who used to be a hitman in his youth. Now he lives crushed by guilt. His crisis deepens when he helps in a childbirth: the force of life fascinates him, and he does not understand how he was able to destroy it in the past.

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.

Crawlies is a soliloquy based on voice recordings of my schizophrenic uncle. An audiovisual exercise of mise en abyme that weaves a patchwork of memories from my childhood, of madness and desire.