-
17 and 25 July, 2013
Carlos Reygadas
Post Tenebras Lux
Technical credits: 2012. Mexico, France, Germany, Holland, in the original Spanish, colour and sound, 120´.
Screening format: Blu-ray
With this film – which has been polemical since its premiere – Reygadas opts for a hermetic discourse to explore the oppressive violence infusing the social spectrum in Mexico. With rigorous formalism, the film launches the spectator into a dense chronology that captures the collapse of a man dragged along by the inertia of his life. What is apparently a self-imposed exile in the countryside with his family does not free him of his sense of alienation; neither the rural idyll nor the everyday activities he shares with the locals calm the irrational attacks of fury and loneliness.
-
19 and 27 July, 2013
Juan Carlos Rulfo y Carlos Hagerman
Los que se quedan
Technical credits: 2008. Mexico, in the original Spanish, colour and sound, 98´.
Screening format: Blu-ray
This film portrays several towns inhabited exclusively by women and children, no men whatsoever, as a consequence of the transformation occurring in Mexico's rural communities due to migration to the United States. Rulfo and Hagerman document the intimate consequences of migration, how these consequences change everyday life, projects and aspirations, using a singular poetic of abandonment to address a theme commonly found in Mexican cinema.
-
24 July and 1 August, 2013
Emiliano Altuna, Carlos Rossini y Diego Osorno
El alcalde
Technical credits: 2012. Mexico, in the original Spanish, colour and sound, 80´.
Screening format: Blu-ray
As an example of a violent response to a catastrophic state of affairs, this film portrays Mauricio Fernández Garza, the controversial mayor of San Pedro Garza García, in Monterrey, Nuevo León, the richest and safest municipal in all of Latin America. A radical and unpredictable figure, his ideas and strategies for keeping order have led to major debate at the national level. Is fighting crime from outside the law a valid solution? What are the consequences of a state alongside the State? -
26 July and 3 August, 2013
Nicolás Pereda y Jacob Secher Schulsinger
Matar extraños
Technical credits: 2013. Mexico and Denmark, in the original Spanish, colour and sound, 63´.
Screening format: Blu-ray
Pereda and Secher Schulsinger deconstruct the collective myth of the Mexican Revolution, inquiring into how history and the past are integrated into the present. On the one hand, the film tells the story of three men lost in the desert hoping to join the armed struggle and, on the other hand, it shows a series of rehearsals and auditions with different actors who improvise dialogues for a film about the Mexican Revolution.
-
31 July and 8 August, 2013
Kyzza Terrazas
El lenguaje de los machetes
Technical credits: 2011. Mexico, in the original Spanish, colour and sound, 78´.
Screening format: Blu-ray
What are the radical ideas and insurgencies of today, the result of the unfinished processes of independence and revolution? Behind Ray and Ramona's turbulent relationship, this film exposes class contradictions and rocks the artificial pillars of national unity. It draws a dramatic line that oscillates between self-sabotage and extreme idealism, coalescing in the couple's iconoclastic impulse to pulverize the Basilica of Guadalupe, with the idea of “creating a better world”. -
2 and 10 August, 2013
Michel Franco
Después de Lucía
Technical credits: 2012. Mexico, in the original Spanish, colour and sound, 93´.
Screening format: Blu-ray
In this film, the adolescent body becomes the record of a reality torn apart by traumas, chaos and paralysis. After the death of her mother, a young woman and her father move to the capital city. She soon becomes the target of her classmates, but she resists stoically so as not to upset her father. Franco constructs a revealing and precarious suspension, between extreme violence and silent resistance. -
7 and 17 August, 2013
Roberto Fiesco
Quebranto
Technical credits: 2012. Mexico, in the original Spanish, colour and sound, 95´.
Screening format: Betacam Digital
With a highly theatrical mise-en-scene, Roberto Fiesco portrays the memory, strength and vitality of two women who have faced a series of losses. Inhabitants of a world of memories, Coral Bonelli, now a transgender actress and dancer, along with her mother, Lilia Ortega, who is also an actress, share with each other and with the spectator a series of tragicomic testimonies. The film highlights the prejudices still associated with the body and with identity, and the fight against them. -
9 and 22 August, 2013
Michel Lipkes
Malaventura
Technical credits: 2012. Mexico, in the original Spanish, colour and sound, 75´.
Screening format: Blu-ray
Using a minimalist style, Michel Lipkes captures the everyday gestures of an old man in Mexico City, on his last day of life. The film deals with the proximity of death, showing the protagonist's attempts to remain steady in a world that is pushing him out. Extended time and slow-motion gestures illustrate a banal day, a decrepit place and an old man in decay but who tries, in spasmodic impulses, to hold on to life. -
14 and 24 August, 2013
Everardo González
Cuates de Australia
Technical credits: 2011. Mexico, in the original Spanish, colour and sound, 90´.
Screening format: Blu-ray
On a ranch in the Sierra de Coahuila, in northeast Mexico, the severe droughts that plague the area seriously threaten the health of its inhabitants. This documentary records the resulting exodus but also resistance and strategies for survival. Cuates de Australia is an example of how the cultural imaginary regarding a territory can become an archipelago of topographies as uninhabitable as they are inevitable, a forgotten space in which to try out new paths of resistance. -
16 and 28 August, 2013
Kenya Márquez
Fecha de caducidad
Technical credits: 2011. Mexico, in the original Spanish, colour and sound, 80´.
Screening format: Blu-ray
A mother looking for her son, fearing he has been a victim of organized crime, and a young woman fleeing from a stormy past. Between the morgue and a residential building, the steps of these women draw in spectators and show them the insides of a Mexico that is surprising and at the same time familiar. The film's cathartic moments allow Márquez to experiment with another way of navigating through the social configurations generated by drug trafficking, the mafia and the vestiges of an obsolete patriarchy. -
21 and 29 August, 2013
Gabriel Mariño
Un mundo secreto
Technical credits: 2012. Mexico, in the original Spanish, colour and sound, 87´.
Screening format: Blu-ray
Using the structure of a road movie, the director captures the state of vulnerability and impenetrability typical of adolescence. The film follows a young woman whose sudden decision to leave the vacuum of her life at home and school leads her to cross the uncertain landscapes of Northern Mexico, revealing improbable moments of shared solitude. Mariño looks at the turbulent transition from childhood to the adult world without falling prey to the clichés often appearing in narratives about adult transition. -
23 and 30 August, 2013
Eduardo Villanueva
Penumbra
Technical credits: 2013. Mexico, in the original Spanish, colour and sound, 88´.
Screening format: Blu-ray
Shot during the first rays of the morning sun or in the fading light of the late afternoon, Penumbra paints a picture of daily life and poverty in rural Mexico, with its characteristic slow pace of life and with very little dialogue. The story's main character, an old hunter in his final days, lets viewers read between the lines about the violence that saturates the country's rural areas. With its contemplative character, Penumbra alludes to a cinema 'on hold', but also to the non-time created by the absence of a future.

Held on 17, 19, 24, 25, 26, 27, 31 jul, 01, 03, 06, 07, 08, 09, 10, 14, 16, 17, 21, 22, 23, 24, 28, 29, 30 ago 2013
This summer film series explores one of the contemporary cinematographies that, although very interesting, is among the least distributed in Europe. Midway between new auteur voices and the poetics of documentary, this series shows how film responds to a situation of provisionality and how it imagines the future from the vantage point of uncertainty.
The audiovisual series Imminent Mexico looks at how a generation of filmmakers deals with a present that is provisional, that has major changes looming, and it reveals how an uncertain and immediate future is imagined, due to the difficulty of foreseeing the long term. The twelve films comprising the program, by filmmakers such as Carlos Reygadas, Nicolás Pereda, Juan Carlos Rulfo and Michel Lipkes, and others, offer a critical commentary of the country's current situation, while at the same time exploring a range of themes, forms and styles that in recent years have given Mexican cinema considerable international recognition. The films programmed transit between purely documentary strategies to the resources used in fiction, including a dose of the irreverent spirit typical of experimental film, but most of all they show the blurring of obsolete frontiers and a marked hybridisation between genres.
This new cinema, identified with a type of filmmaking that can be described as 'on hold', favours the creation of atmospheres over orthodox narratives, presenting palimpsestic, surreal or minimalist narrations and chaotic and desolate landscapes that reflect the tacit violence permeating everyday life. The uncertainty of the future has prompted various filmmakers to focus on people's interior lives, subjective experiences and family dynamics. Their work invites viewers to journey through fragmented territories, to inhabit parallel worlds that point to the strange geography formed by migration circuits and organized crime, or to follow subjects who are lost in thought, absorbing the uncertain present and being pulled by the undertow of the future. The detachment of this contemplative cinema evokes the state of alienation of a country in which a perpetual state of alert has become the norm; the visceral nature of a cinema 'on hold' documents the bodies that dramatize social deterioration while the comedy of the absurd reminds us that the end of the world responds to a number of different logics. It can be dramatic, it can be a slow fade to black or it can be the indication of a liberating optimism.
In this respect, the selected films offer glimpses instead of exact visions, they produce distorted refractions more than precise reflections or mirror images of reality; some films intentionally lose their focus, showing only glimmers, fragments, mirages; they reveal some aspects of the world while simultaneously concealing others; in short, they observe reality, assuming its inevitable aura, a key aspect of an aesthetic and a cinema of imminence that is having a considerable impact on contemporary audiovisual culture.
Itinerary
Centro de Cultura Digital, México D.F., March 20 to April 6, 2014, CPH:Dox, Copenhagen. Second semester, 2014
Curatorship
Antonio Zirión and Mara Fortes
Itinerancies
Museo Nacional Centro de Arte Reina Sofía, Madrid
17 July, 2013 - 30 August, 2013
Centro de Cultura Digital, México D.F.
20 March, 2014 - 6 April, 2014
Más actividades

Manuel Correa. The Shape of Now
13 DIC 2025
The Shape of Now is a documentary that explores the challenges and paradoxes of memory, reparation and post-conflict justice, extending a defiant and questioning gaze towards the six-decade armed conflict in which the Colombian State, guerrillas and paramilitary groups clashed to leave millions of victims in the country. The screening is conducted by the Aesthetics of Peace and Desertion Tactics study group and includes a presentation by and discussion with the film’s director, Manuel Correa.
The film surveys the consequences of the peace agreements signed in 2016 between the Colombian State and the FARC guerrilla organisation through the optics of different victims. It was recorded shortly after this signing, a time in which doubts lingered over the country’s future, with many groups speculating in the narration. Correa harnesses the power of images, visual and bodily memory, fiction and re-staging as tools for understanding the conflict, memory and healing, as well as for the achievement of a just peace that acknowledges and remembers all victims.
The activity is framed inside the research propelled by Aesthetics of Peace and Desertion Tactics, a study group developed by the Museo’s Study Directorship and Study Centre. This annual group seeks to rethink, from a theoretical-critical and historical-artistic perspective, the complex framework of concepts and exercises which operate under the notion of pacifism. A term that calls on not only myriad practices ranging from anti-militarism and anti-war movements to activism for non-violence, but also opens topical debates around violence, justice, reparation and desertion.
Framed in this context, the screening seeks to reflect on propositions of transitional and anti-punitive justice, and on an overlapping with artistic and audiovisual practices, particularly in conflicts that have engendered serious human rights violations. In such conflicts, the role played by audiovisual productions encompasses numerous challenges and ethical, aesthetic and political debates, among them those related to the limits of representation, the issue of revictimisation and the risks involved in the artistic commitment to justice. These themes will be addressed in a discussion held after the session.

Francisco López and Barbara Ellison
Thursday, 11 December - 8pm
The third session in the series brings together two international reference points in sound art in one evening — two independent performances which converse through their proximity here. Barbara Ellison opens proceedings with a piece centred on the perceptively ambiguous and the ghostly, where voices, sounds and materials become spectral manifestations.
This is followed by Francisco López, an internationally renowned Spanish sound artist, who presents one of his radical immersions in deep listening, with his work an invitation to submerge oneself in sound matter as a transformative experience.
This double session sets forth an encounter between two artists who, from different perspectives, share the same search: to open ears to territories where sound becomes a poetic force and space of resistance.

Long Live L’Abo! Celluloid and Activism
4, 5, 6 DIC 2025
The third instalment of Cinema Commons, a research, programming and publishing project which explores how film articulates interpretive communities, fosters collective debate and devises proposals for common spaces, presents L’Abominable, an artist- and film-maker-run independent film-lab founded in 1996 on the outskirts of Paris. The programme is structured around three sessions: a lecture-workshop on L’Abominable, conducted by film-makers Pilar Monsell and Camilo Restrepo; a session of short films in 16mm produced in L’Abominable; and the feature-length film Une île et une nuit (An Island and One Night), made by the Les Pirates des Lentillères collective.
Better known by the shortened version of L ’Abo, the artist-run laboratory emerged in response to disappearing infrastructures in artisan film-making and endeavours to offer the creative community a self-managed space in which to produce, develop and screen films in analogue formats such as Super8, 16mm and 35mm. With this underpinning, L’Abo champions the aesthetic and political experimentation of analogue cinema opposite digital hegemony.
L'Abominable, more than a simple work tool, has become a space of artistic and social exchange which has knitted together a community. It is characterised by endowing technique with a poetic dimension, in a community that manufactures its own film devices, and situates pedagogy at its core — the film-makers and artists train one another on common ground. Further, it seeks to forge an opening to all experimental languages around celluloid, for instance installation and film performance, while constituting a place of preservation and conservation in the history of the medium.
L'Abominable is an example of how, at the height of the digital age, artists and film-makers are recovering cinematography and vindicating the production process in its entirety. This autonomy invents alternative routes in the industry as it creates new tools, develops other forms of expression and explores unknown cinematic territories.

Estrella de Diego Lecture. Holding Your Brain While You Sleep
Wednesday, 3 December 2025 – 7pm
Framed inside the Museo Reina Sofía’s retrospective exhibition devoted to Maruja Mallo, this lecture delivered by Estrella de Diego draws attention to the impact of the artist’s return to Spain after her three-decade exile in Latin America.
Committed to values of progress and renewal in the Second Republic, Mallo was forced into exile to Argentina with the outbreak of the Civil War and would not go back to Spain to settle definitively until 1965 — a return that was, ultimately, a second exile.
Mallo saw out her prolific artistic trajectory with two impactful series: Moradores del vacío (Dwellers of the Void, 1968–1980) and Viajeros del éter (Ether Travelers, 1982), entering her most esoteric period in which she drew inspiration from her “levitational experiences” of crossing the Andes and sailing the Pacific. Her travels, both real and imaginary, became encounters with superhuman dimensions.
In parallel, her public persona gained traction as she became a popular figure and a key representative of the Generation of ‘27 — the other members of which also started returning to Spain.
This lecture is part of the Art and Exile series, which seeks to explore in greater depth one of the defining aspects of Maruja Mallo’s life and work: her experience of exile. An experience which for Mallo was twofold: the time she spent in the Americas and her complex return to Spain.

Haunting History
Friday, 28 November 2025 – 6pm
Curator Patricio Majano invites writer Elena Salamanca, artist Beatriz Cortez and artist and writer Olivier Marboeuf to explore, in conversation, the political agency of artistic forms in relation to the spectral resonances in Central America, the Caribbean, and their diasporas.
Central America is a region inhabited by spectres that continually interrupt any attempt at historical closure. Five centuries of colonisation, counterinsurgency wars, genocides, dictatorships and deportations have resulted in accumulated traumas and persistent forms of violence that still move around under the surface of the present. More than past ruins, these spectres are material forces which persist, invade and reclaim the reparation and reconfiguration of the frameworks of historical legibility. In Central American artistic practice, these spectral presences become method, counter-archive and counter-pedagogy.
Taking El Salvador as both axis and prism, this conference seeks to think about “ghostliness”, not as a metaphor but as a political and aesthetic technology, from the following questions: How is that which persists beyond disappearance manifested? Who speaks from amputation? How does memory operate when the State apparatus has systematically searched for its erasure? How is the spectral tapped into as a form of resistance? Which conditions and methods allow art to articulate a claim, reparation and justice when hegemonic narratives are upheld in denial?
Over the course of 2025, these questions have articulated the research residency of Salvadoran curator Patricio Majano in the The Cáder Institute of Central American Art (ICAC) by virtue of the project Amputated Identities: Ghosts in Salvadoran Art. Majano’s research traces genealogies and resonances between Salvadoran contemporary art, the Indigenous genocide of 1932 and the Civil War (1980–1992), interrogating how these unresolved forms of violence operate with artistic subject matter.
Beyond a closing act of the ICAC residency, this encounter stresses exchange and dialogue as method: opening the process and sharing questions, tensions and unresolved challenges — not as conclusions, but as work in progress.



![Miguel Brieva, ilustración de la novela infantil Manuela y los Cakirukos (Reservoir Books, 2022) [izquierda] y Cibeles no conduzcas, 2023 [derecha]. Cortesía del artista](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/ecologias_del_deseo_utopico.jpg.webp)
![Ángel Alonso, Charbon [Carbón], 1964. Museo Reina Sofía](https://recursos.museoreinasofia.es/styles/small_landscape/public/Actividades/perspectivas_ecoambientales.jpg.webp)