Laura Almela

In Guita Schyfter’s El águila y el gusano, an intricate plot serves to intersect the destinies of several characters: the owner of a beauty salon in love with “all things Chinese”, a politician with a taste for oration who couldn’t care less about the problems of his country, a political adviser whose counsel is never considered and a shady investigator with a name that nobody seems to recall. The script by Schyfter and Hugo Hiriart, her longtime collaborator and author of the 2013 novel on which the film is based, bristles with finely-crafted, hilarious dialogue.

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Set amidst the 1999 student strikes in Mexico City, this coming-of-age tale finds two brothers venturing through the city in a sentimental search for an aging legendary musician. Shot in black-and-white, Güeros brims with youthful exuberance.

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The economy has collapsed. In a universe of moral and economic impoverishment, we find Flavia, a spoiled teenager with artistic aspirations that are somewhat frustrated when she is not accepted at the University. Her neighbor Martin, a mature man with rigid routines, is her antipode. When Flavia meets Martin, there are sparks of friction at all times, and the situation is unlikely to get any better.

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It was the year of 1962 when I turned 12 and my breasts began to grow. Cecilia, my sister, went to study in Paris, I was left alone with my parents and their problems. I discovered that the breasts made men and women crazy, while mine began to draw the attention of my friends without adults realizing that I needed a bra.

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A fatalistic car crash in Mexico city sets off a chain of events in the lives of three people: a supermodel, a young man wanting to run off with his sister-in-law, and a homeless man.

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A comedic drama featuring two couples and two old friends in Mexico City. Tomas visits Carlos and Ana, while Miguel and Andrea are joined by Maria. The presence of guests triggers lust, rejection, infidelities, reconciliation and other consequences.

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He drinks too much, his primary relationship just ended, and he can't finish his screenplay.

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In 1965 Mexico City, Flavia, a wealthy yet lonely schoolgirl, befriends Veronica, a young orphan girl who has a fascination with witchcraft. Veronica convinces Flavia that she is a real witch and forces her to be her assistant. The children's games gradually become more serious and Veronica demands more from Flavia.

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