"reygadas"

A painter from the big city goes to a remote canyon to commit suicide. To reach some calmness, he stays at the farmstead of Ascen, an old, religious woman. Although but a few words are spoken, love grows.

A painter from the big city goes to a remote canyon to commit suicide. To reach some calmness, he stays at the farmstead of Ascen, an old, religious woman. Although but a few words are spoken, love grows.

A painter from the big city goes to a remote canyon to commit suicide. To reach some calmness, he stays at the farmstead of Ascen, an old, religious woman. Although but a few words are spoken, love grows.

Juan and his urban family live in the Mexican countryside, where they enjoy and suffer a world apart. And nobody knows if these two worlds are complementary or if they strive to eliminate one another.

A painter from the big city goes to a remote canyon to commit suicide. To reach some calmness, he stays at the farmstead of Ascen, an old, religious woman. Although but a few words are spoken, love grows.

A working-class man named Marcos and his wife kidnap a baby for ransom money, but it goes tragically wrong when the infant dies. In another world is Ana, the daughter of the general for whom he drives, who does sexual acts to any man for pleasure. Marcos confesses his guilt to her in his troubled search for relief, and then finds himself on his knees amid the multitude of believers moving slowly toward the Basilica in honor of the Lady of Guadalupe.

Johan (Cornelio Wall), a married Mennonite who maintains a quiet, simplistic lifestyle in rural Mexico, experiences a moral dilemma as a result of his passionate – and torturously public – affair with Marianne (Maria Pankratz), a neighbor. As he goes through the ritualistic motions of his daily life in a bucolic landscape, he is forced to weigh his love for Marianne against the survival of his marriage, his family and his deeply felt religious beliefs.

A family lives in the Mexican countryside raising fighting bulls. Esther is in charge of running the ranch, while her husband Juan, a world-renowned poet, raises and selects the beasts. When Esther becomes infatuated with a horse trainer named Phil, the couple struggles to stride through the emotional crisis.

This volume re-evaluates theories of genre and spectatorship in light of a critic-defined tendency in recent art cinema, coined ‘extreme cinema’.