Luisa is a small-town girl who works in the bakery of the widower Don Albino. Luisa dreams of marrying and loves children. Just as Don Albino shows interest in her, Luisa announces that she will marry soon with Carlos, the driver of a rich house whom she met recently...

In the early 1960s there was a strong film movement in most Latin American countries that originated the so-called New Latin American Cinema. Pioneer countries were Argentina, Brazil and Cuba, but this "new wave" mostly consisted of documentaries and shorts that hardly made it to the screens outside their countries of origin. Then, in Mexico during the 1970s, with the help of the state, and through its powerful distribution machine (the now extinct Peli-Mex), we could see movies by new directors, many graduates from film schools. Among these was Paul Leduc, formed in France, whose first work "Reed: México insurgente", based on John Reed's account of his 1913 travel to México, was acclaimed as the first true portrait of Mexican revolution in a feature. Made independently from Mexican unions (which initially caused it to be banned from screens), using documentary techniques, sparse dialogue, sepia-tinted images, and a more restrained aesthetics than Brazilian film guru Glauber Rocha's wild cinema, Leduc became an icon of renovation, and his movie, a sign of hope for many filmmakers, and an early example of post-modern cinema. This work led to other films by Leduc, which are among the best of Latin American cinema, as "Etnocidio" and especially "Frida: Naturaleza viva", so far the best film based on Frida Kahlo's life and work, with an outstanding performance by Ofelia Medina.

Poor, hungry peasant Macario longs for just one good meal on the Day of the Dead. After his wife cooks a turkey for him, he meets three apparitions, the Devil, God, and Death. Each asks him to share his turkey, but he refuses all except Death. In return, Death gives him a bottle of water which will heal any illness. Soon, Macario is more wealthy than the village doctor, which draws the attention of the feared Inquisition.

绅士埃维拉尔多和他的家人：妻子艾维拉、女儿鲁西拉和埃玛、儿子塞巴斯蒂安住在树林中的一所古老的房子里。埃维拉尔多一家常用蘑菇招待客人，为鉴别蘑菇是否有毒，他们总是让穷苦的农民先对蘑菇进行品尝，在确定蘑菇无毒后再将蘑菇进行烹饪。这些品蘑菇的农民即为称为“蘑菇人”。一次，埃维拉尔多在上山采蘑菇时捡到了一个野孩子，遂将其收养，并给他起了个名字：加斯巴尔。随着时间的流逝，渐渐长大的埃玛疯狂地爱上了加斯巴尔，鲁西拉对此十分妒忌，常暗中监视他们。埃维拉尔多得知后也责难女儿。家庭成员间的矛盾因为埃维拉尔多的独断专行而愈发激化。艾维拉试图引诱加斯巴尔，一天晚上，在去加斯巴尔住处的路上她被埃玛养的一头豹子咬死。在参加艾维拉的葬礼后，塞巴斯蒂安将家里的珠宝偷走跑到了欧洲。在取代了母亲的位置后，为除掉加斯巴尔，鲁西拉想出一计：让加斯巴尔当“蘑菇人”。鲁西拉的生日到了，在宴会上，埃维拉尔多、鲁西拉和客人由于吃了有毒的蘑菇全部死去，幸存的加斯巴尔和埃玛来到深山，这时，悲剧发生了：埃玛被自己饲养的野性发作的豹子咬死。加斯巴尔将身上的衣服全部脱去，赤裸裸地回到了森林中