Americano

In the 1950s, a pretty magician's apprentice travels to Mexico to escape her boyfriend, a wealthy politician, and to find a Mayan shaman who will teach her the ancient principles of magic.

Kate is secretly betrothed to a struggling journalist, Merton Densher. But she knows her Aunt Maude will never approve of the match, since Kate's deceased mother has lost all her money in a marriage to a degenerate opium addict. When Kate meets a terminally ill American heiress named Millie traveling through Europe, she comes up with a conniving plan to have both love and wealth.

A young widower is deported as his daughter is scheduled for a heart transplant, this will lead him to orchestrate the boldest border crossing plan in history.

Richard Rent, a volatile LAPD cop, and Joe Thomas, a boarding schoolteacher, become targets of the city’s corrupt political machine and are forced to flee to Mexico. In the humid jungles of the country’s Pacific coast, an unexpected affair unfolds. As passion turns to reckoning, both men must confront the violence they fled and the illusions that once defined who they were – and who they fear they might become.

Newlywed Oliverio receives disturbing news that his mother is on her deathbed. He travels to a remote part of Mexico to fetch a lawyer who can sort out her will. Leaving his wife behind, he embarks on a bus ride that’s interrupted by an increasingly absurd series of episodes, including an impromptu birthday celebration; a one-legged man writhing in the mud; come-ons from an insatiable small-town belle, Raquel; and Oliverio’s frequent, Freudian nightmares.

Isabel Clifford sits to be painted. Her artist is Marion Leslie, a man distracted by matters of the flesh. Not Isabel’s flesh but Lorelei’s, the same Lorelei who wows the corrupt police chief, Sarpina, with her virtuoso vocal performances. She is Mexico’s most celebrated opera diva, Marion’s fiancé, and Sarpina’s passion, yet she boils with petty suspicion over Marion’s friendship with Isabel.

1903, before the Revolution… The Citrillo’s Turns is a pulque bar in Mexico City, in which beings with no present or future gather to drink their lives away and tell stories of the dead and apparitions. Thus is woven a story of real passions –love, betrayal, jealousy, pillage- in an atmosphere of drunkenness and hallucination.

After working for three years in the USA, Filiberto returns to his home town in Mexico. A proud man, he is searching for the recognition that will give him a new position in life. However, he finds that things have changed. His mother is dead, and Luis, his best friend, is married to his ex-girlfriend. Filiberto gets involved in the town’s disputes over a water spring.

In 1840s New York, the uneventful and boring days of the daughter of a wealthy doctor come to an end when she meets a dashing poorer man — who may or may not be after her inheritance.

On a mission to sell his last remaining prize hog and reunite with old friends, an aging farmer abandons his foreclosed farm and journeys to Mexico. After smuggling in the hog, his estranged daughter shows up, forcing them to face their past and embark on an adventurous road trip together.

Fifteen-year-old Mia is in a constant state of war with her family and the world around her. When she meets her party-girl mother’s charming new boyfriend Connor, she is amazed to find he returns her attention, and believes he might help her start to make sense of her life.

An unclaimed fortune, grown for centuries in a British bank account, becomes a potential windfall for Bernadito Castiñeiras and the residents of the tiny village of Yaragüey, Cuba. To receive his massive inheritance check, Bernadito must prove his lineage to the Castiñeiras nuns who first populated the region. In an isolated and impoverished town where many residents share the same surname, a feud breaks out between the "Castiñeiras" and "Castiñeyras" families.

After a childhood of abuse by his evangelistic father, misfit Oscar Hopkins becomes an Anglican minister and develops a divine obsession with gambling. Lucinda Leplastrier is a rich Australian heiress shopping in London for materials for her newly acquired glass factory back home. Deciding to travel to Australia as a missionary, Oscar meets Lucinda aboard ship, and a mutual obsession blossoms. They make a wager that will alter each of their destinies.

A notorious Mexican bandit goes all soft and mushy when he falls for a beautiful senorita. Warner Bros.' Captain Thunder contains some of the darndest Mexican accents you've ever heard in your life. The star is Hungarian-born Victor Varconi, portraying a legendary south of the border outlaw who tries to force Canadian senorita Fay Wray to marry a rival rustler whom she despises. She pleads with the bandito so pathetically that he is moved to grant her a single wish. Without hesitation she chooses her poor but true love. The bandit king, being a somewhat honorable fellow grants the wish and without a twitch, guns down the wicked cattle thief. Fortunately the film was played for comedy, a wise decision since it probably would have garnered laughs as a straight drama anyway.

James Wallace is a young American. To him Mexico was just another adventure in a life lived without any grand plans. A place to go where nobody knew who you were and nobody cared. A chance to drop out and get by within Mexico's flourishing underground economy. When he finds himself working as a 'surgeon' in Carlos Melgarejos' burgeoning organ trafficking ring things start looking up. But that was before he met Rosalita, a prostitute at the amateur lucha libre whose profound beauty shakes his insouciance. Suddenly there's more to life than cutting out kidneys south of the border. James wants out and he wants to take Rosalita with him. For Carlos this is more than just another headache in a life filled with niggling trespasses, this is personal.

In an effort to forget his dead wife, an old man drowning in his memories decides, with the help of a young scavenger, to get rid of all the items of the home he formed with her.

Takuma Tsurugi takes on the government, the police, the mafia and an international ring of kidnappers who aim to dispossess a beautiful young heiress of her millions.

Ramsés begins to experience disturbing changes in his body and mind, unsettling shifts that disrupt his daily life. Soon he realizes he is no longer alone in his own skin: the demon Asmodeus has taken control. Under this possession, Ramsés is driven into a spiral of desire and violence, seeking out both men and women to consume through blood and sex, feeding the darkest temptations of the demon within. As reality and delusion blur, Ramsés struggles to hold onto what remains of his humanity while Asmodeus leads him ever deeper into a world of lust, horror, and destruction.

Young Pud is orphaned and left in the care of his aged grandparents. The boy and his grandfather are inseparable. Gramps is concerned for Pud's future and wary of a scheming relative who seeks custody of the child. One day Mr. Brink, an agent of Death, arrives to take Gramps "to the land where the woodbine twineth." Through a bit of trickery, Gramps confines Mr. Brink, and thus Death, to the branches of a large apple tree, giving Gramps extra time to resolve issues about Pud's future.

Between chargers, noise and improvisedly placed furniture, a couple experiences a violent marital crisis, ignoring that they are observed by many characters that will soon face them with their own demons. Inspired by a work by Vicente Leñero, Gabriel Retes orchestrates a portrait without concessions of the hell of the marriage institution and love chaos, made in video format in 1990 and completed by the filmmaker more than a decade later.