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Why watch this film?
This movie, selected at the International Film Festival in Guadalajara 2017, is the directorial debut of Gabriela García Rivas. 'Silence is Welcome', with its naturalistic staging and elements from the road movie and coming of age subgenres, is the kind of film that portrays the everyday life of a human group, in the same vein as Mexican productions such as 'Club sandwich' by Fernando Eimbcke, 'Semana Santa' by Alejandra Márquez Abella, or its contemporary 'Los años azules' by Sofía Gómez Córdova. At first glance, it may seem like nothing is happening, but subtle details of the past and cracks in the present in family relationships are revealed. However, this movie is also the fruit of its social and temporal context, specifically the growing violence in Mexico by drug trafficking and army groups, which has resulted in restrictions on freedom of movement (or worse). The pacing and mundanity of 'Silence is Welcome' may be challenging for some viewers, but it also captures something very powerful: the way life can take irreversible turns in a blink of an eye and without warning.

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During the holidays, Amanda, trapped in her teenage process, seeks to avoid the terrible family trip.
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Drama

Totem
When it comes to personal pain, Mexican cinema tends to lean too much towards exaggerated melodrama, or towards the most mediocre miserabilism. With Totem, Mexican filmmaker Lila Avilés (awarded at the Morelia Film Festival for both this film and The Chambermaid) reminds us that there is another path: one of understanding, acceptance, and feeling. This is precisely what she invites us to do through the story of Sol (Naíma Sentíes), a little girl who gathers with her family to celebrate her father's birthday (Mateo García), who is too ill to attend the party. With great scriptwriting and a camera that is both furtive and complicit, Avilés' gaze infiltrates the bittersweet intimacy of a family united by imminent pain, gradually revealing, with compassion, the ways in which each person faces it.

Toll
Suellen, a toll booth attendant, uses her job to help a gang of thieves steal watches so that she can afford to send her son to a gay conversion workshop.

Hard Days
Between Christmas and New Year's Eve, on December 29th, detective Yuji Kudo drives his car to visit his mother, who is hospitalized with a serious health problem. On the way, he receives a call from the commissioner inquiring about his involvement in the creation of a secret fund, just as he learns that his mother has passed away. Yuji then accidentally hits a man with his car, who dies instantly. It's at this point that the protagonist, in the hospital, tries to cover up the death of the man he ran over by placing his corpse in his mother's coffin. Hard Days, an unlikely Japanese dramatic thriller, depicts the consequences of Yuji's decision, as he grapples with a series of mistakes stemming from his bizarre choices while under investigation. With a strange and tense, yet emotional atmosphere, the feature showcases the skill of filmmaker Michihito Fujii, who knows how to blend genres in a film full of improbabilities but true.

Monster
With films like Shoplifters and Broker (among many others), Japanese filmmaker Hirokazu Kore-eda is a master at telling stories of complex morality, where the truth is never simple, and answers navigate through all shades of gray. Monster is another great demonstration of this (the film won Best Screenplay at the Cannes Film Festival 2023). Its plot begins with a mother concerned about her son's strange recent behavior, and after investigating, she begins to fear that he is being abused by a school teacher. However, as the plot unfolds, we witness all the elements that complicate and entangle the truth hidden behind. Monster is the kind of film that deeply moves and invites reflection on the ways we relate to—and judge—those around us.
