Fotogramas del desnudo que provocó la censura de la película La mancha de sangre (1937)de Adolfo Best Maugard.

La protagonista de esta película, Stella Inda, adquirió fama como la madre de Pedro, en la película Los olvidados, de Luis Buñuel.

Netflixeando: 15 Mexican Films You Should Stream on Netflix

Narco cultura, Déficit, Biutiful, Post Tenebras Lux, También la lluvia, Año bisiesto, Ahí va el diablo, Los bastardos, Parque Vía, among others, are also available!


Elsa Aguirre en Cantando Nace el Amor (1954)

Cantinflas (2014)


Cinco días sin Nora / Mariana Chenillo 2009

El puño de hierro. México, 1927 Director: Gabriel García Moreno


CINEMA | Trailer | Filosofía Natural Del Amor
(Natural Philosphy of Love)
Dir. Sebastián Hiriart
+ Costa Rica, 2014

Natural Philosophy of Love is a small and wonderful movie, full of surprises, pleasures, moments of contemplation, and other thinking. An while we could say it lacks to delve into each of the topics, stories and methods proposed; We can also say that it will be well for mexican cinema to have works like this in its panorama.”

— — — — — — — — — —

Filosofía… es una pequeña y maravillosa película, llena de sorpresas, placeres, momentos de contemplación, y otros de reflexión. Si bien, podríamos decir que le falta profundizar en cada uno de los tópicos, historias y métodos, que propone; también podemos decir que le hará bien al cine mexicano tener obras así en su imaginario.”

GABRIEL ACOSTA (@elgaboacosta)
SEPT 2014

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Paraísos artificiales / Artificial Paradises


Todos Estan Muertos (2014) dir. Beatriz Sanchis

Ever since her brother died, Lupe has lived an agoraphobic life at odds with her teenage son and her superstitious Mexican mother. It takes a drastic Day of the Dead ritual to wake her up and teach her the value of saying goodbye.

¡Feliz día de la Independencia!

Cochochi (2007 - Mexico)


6 Sep 2014


La mancha de sangre. Adolfo Best Maugard (1937)

Polish poster for Miguel Littín’s Letters from Marusia (1976)



The latest film by Michael Rowe (Año Bisiesto), Manto Acuífero, depicts the process in which a little girl finally comes in contact with her internal aggression. Carolina is a six year old girl that moves to a new place, along with her mother and her mother’s new boyfriend. As the vacations go by, the absence of her father becomes a mystery, and the tension between the mother and her boyfriend rises, Carolina starts to sink in confusion and genuine despair.

However, it is this minimalism that turns somehow problematic in the film. It is well known that in Latin American cinema there’s a special interest in hyper-realistic characters and stories more tied to everyday life than to overtly fictitious scenarios. The problem with Manto Acuífero is that it has a severe lack of spontaneity.

On the other hand, there are many good things in the story. It is probably a great script which couldn’t be translated into the making. It feels a lot like the illustration of a “great script” with a default and pre-configured style that renders the film lifeless.

In spite of this, it is interesting how the protagonist is surrounded by worlds that are alien to her (adults with their problems and complexities; nature with its insects and tall trees; fairy tale princesses in the stories that her mother tells her every night, most of which are orphaned).

As the plot develops these worlds orbit around her in an increasingly fast pace, catching fire and ultimately exploding in a great final scene which is the reason why we could say that in spite of the various shortcomings mentioned above, Manto Acuífero is a humane and powerful film.

ANDRÉS AZZOLINA (@azzzolina)
Trans. Yannick Bautista (@yannickbautista)
MAR 2013
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