Francisco Barreiro

Juana is a woman driven by an unshakable sense of duty who delves into infamous crimes against women, giving herself entirely to the pursuit of truth. Each revelation carries weight and each step forward increases the tension, drawing the viewer into a world where obsession, courage, and vulnerability collide.

On the outskirts of an isolated mining town, Lázaro discovers a dead body. He thinks he has a respiratory illness and doesn’t want to go back to the mine. Rumours, suspicion and desire surround him.

A couple of teenage factory workers spend their afternoons consuming chemical substances in a self-constructed shack. The ecstatic trips and the visions they experiment make them forget for a moment about their noisy industrial city life. But when Alexandra disappears right before his eyes, Lucas must deal with a corrupted system. His visions decay, just like the monster that imprisons them.

Three friends – a trio in love – get together after an audition. Their prosaic exchanges take a different turn when they remember how they met.

Alan and his father Alberto flee from the painful loss of his mother. While hiding in a secluded housing unit, Alan discovers hidden messages from his uncle that lead him to believe that his father is a werewolf. His life and his neighbors’ lives are in danger. Alan decides to do something once for all. Destroying the beast does not seem a far-fetched plan in the violent reality he lives day by day.

A Mexican teen Lucas in a gray industrial town befriends co-worker Oscar. Oscar leaves, entrusting Lucas with treasures. Through photography, Lucas captures observed light, finding connection and solace.

The life of engineer and former NASA astronaut José M. Hernández, the first migrant farmworker to go to space.

Don Reynaldo is a renowned hunter in decline. When the threat of losing his heritage and his father's legacy appears, the dynamics with his family, his workers and the land will be dangerously disrupted.

A metacinematic reflection on the nature of representation and the ongoing drug war in Mexico, Nicolás Pereda’s Flora revisits locations and scenes from the mainstream 2010 narco-comedy El Infierno, exploring the paradoxes of depicting narco-trafficking on film—its tendency both to romanticize and to obscure. To screen is both to project and to conceal.

Luisa and Gabino visit their parents in a mining town in the north of Mexico. Their father’s only interest in them is sparked by Luisa’s actor boyfriend when he acts out the role of a narco kingpin. To cope with family tensions, Gabino imagines a parallel reality of detectives and organized crime.