Legendary Mexican filmmaker returns an aging couple’s dark and eerie relationship. He spits out profanity against her, she flees from his rage. They destroy and desire each other, until the young housemaid intervenes.

Gaspar de Carvajal, a Dominican, has not seen his family since the age of 10 when he was sent away to pursue the religious life. He attends the funeral of his father, where he notices that the body was washed, then buried in a shroud and without a coffin. Gaspar tells his confessor that he suspects his family, Jews converted to Catholicism, are still following the old ways. Father Lorenzo says this matter must be taken before the Inquisition. Alonso de Peralta, chief Inquisitor of New Spain, orders the Carvajal family arrested on the testimony of their son. Hernando, a Franciscan friar, is sent as a spy to the cell of Luis, Gaspar's brother. Luis's faith converts Hernando to Judaism. Under torture, Luis's mother Francisca confesses. Each family member renounces the Jewish heresy and is allowed to leave prison. But they are warned. If they revert to Judaism a second time, they will be burnt at the stake... Written by David Carless

A man comes home after serving 18 years in jail for murder in this routine western. Although the man killed in self defense, rumors in town circulated that he murdered the victim in cold blood. The ex-con wants to get his life together, but the two sons of the slain man are gunning for the man who killed their father. Arturo Ripstein (born on December 13, 1943 in Mexico City) is a Mexican film director. Ripstein got his break into movies working as an uncredited assistant director for Luis Bunuel. In 1965, he directed his first feature, "Tiempo De Morir". Written by Carlos Fuentes and Gabriel García Márquez, it began a tradition of making independent films written by high-profile Latin-American authors. In 1997, Ripstein won the Mexican National Prize for the Arts, the second filmmaker after Bunuel to do so.

Every Friday, the Colonel puts on his only suit and goes to the dock to await a letter announcing the arrival of his pension. But the townsfolk all know that this pension will never come. His wife also knows it, and even he knows it. But he is still waiting, living with the pain of the death of his son.

In Vera Cruz in the 1940s, Nacho, an Indian, waits tables at Don Lázaro's café at Hotel Ofélia. He falls for Lola, an opium-addicted, alcoholic whore who's hopelessly in love with Gardenia Wilson, a masked wrestler who slept with her once but knows she's unbalanced. Don Lázaro warns Nacho about Lola, and Nacho knows his love will be unrequited, but he'll do anything, regardless of how degrading, to be near her. Lola, for her part, can be sadistic. Republican exiles who are regulars at the café encourage Lola's desire to assassinate Franco. Nacho in turn mixes this political mirage with his fascination with the plot of "The Mikado." Where do fantasies and obsessions lead?

Driven by desire and desperate for self-love, Coral and Nicolás will abandon their past lives in a journey surrounded by murder.

A Romanian aristocrat retreats to a desert isle with his wife and servants on the eve of World War II.

For 18 years Gabriel Lima, the father of a large family, the business man, producing anti-rodent, keeps in captivity all his family to protect them from the corrupting influence of civilization. But his project to create perfect children, whom he called Utopia, Porvenir and Voluntad, breaks down under the influence of internal contradictions and conflicts.

Perla, a prostitute and the star in a miserable cabaret in the docks, falls in love with a sailor without knowing that he is her brother. Tomasa, Perla's mother, tries to prevent this incestuous relationship at all costs, but fails to do so. Set in a sordid environment, the director makes no concessions in this tragic love affair, which is narrated from three different points of view.