Marisol (Alejandra Herrera) is caught between her possessive and aggressive cousin, Mauro (Eduardo Mendizábal), and passionate but inert lover, Mundo (Noé Hernández). Violence is a constant presence in their rural Mexican town, with gangs and guerilla fighters a steady presence. When Mundo has to flee, their connection turns from physical to digital even when Marisol is held captive by her cousin. Their communication via text, voicemail, and video is sporadic and frustrating, but is nevertheless a source of comfort, and their longing remains intense despite the distance. When Mundo returns, the stakes for Marisol are even higher, and it’s no longer a question of whether things will come to a head, but how and when. Might their desire and desperation ultimately play to her advantage?
You May Also Like
A group of friends get lost in the seedy streets where they encounter a crazed gang of homeless derelicts that seizes them and kills them one by one. The surviving man escapes on foot, naked and unarmed, with a pack of depraved transients in pursuit, and only seconds away from capture.
In this adrenaline-fueled story, the world of women’s mixed martial arts is rocked by an explosive showdown between reigning champion Cassady Jones and rising star Alexa Star. The clash of these two titans sends shockwaves through the EFC, as the future of the sport hangs in the balance.
Six strangers find themselves in circumstances beyond their control, and must use their wits to survive.
In the aftermath of a nuclear disaster, a starving family find hope in a charismatic hotel owner. Lured by the prospect of a free dinner, they discover that the evening’s entertainment blurs the lines between performance and reality. Will they wind up the spectators or the spectacle?
In 1942, in Bavaria, Eva Braun is alone, when Adolf Hitler arrives with Dr. Josef Goebbels and his wife Magda Goebbels and Martin Bormann to spend a couple of days without talking politics.
A struggling actress tries to help a friend prove his innocence when he’s accused of murdering the husband of a high society entertainer.
“Tomorrow’s Promise is a film about vacantness. Which physically does ‘begin’, reversed, upside down on the screen […] suddenly another such position is taken (not in reverse), this time by a male figure and soon, in this same section, the girl of the reversed image reappears posed in a different way; a way obsessed by ‘mood’. Then a technical play of in-the-camera-editing occurs, more intense, brighter than in the first, reversed section. There are several inter-cuts which serve, in this and each subsequent section unto the end, as relative links into the final section: which is actually the ‘story’. The story the protagonist and her hero try to tell in their way is apophysis; except that ‘pictures’, clear visions take the place of words. My film could have been edited with precise tensions and a lucid straight narrative, but it was my aim to ‘re-create’ the protagonist of my personal life.” – Edward Owens
New York private eye Shamus McCoy likes girls, drink and gambling, but by the look of his flat business can’t be too hot. So an offer of $10,000 to finds some diamonds stolen in a daring raid with a flame-thrower is too good to miss. His investigations soon get pretty complicated and rather too dangerous. At least along the way he does get to meet Alexis.
When a couple hires a caregiver for their disabled son, her dark past emerges, endangering everyone she encounters.
Businessman Bhaskaran Pillai builds a large commercial empire until his wife dies. Under pressure from his son, Bhaskaran goes on a trip where he meets Hima, a small-business owner.
Alyssa moves into a luxury apartment complex but is unaware she is being watched by her disturbed landlord, Robert, via hidden cameras. Robert will do anything to fill the void left by his estranged daughter–even if that means replacing her.
