Guillermo Gil
2021 - 2008He died at the age of 65, a native of Tehuacán, Puebla, and a graduate of the School of Theatrical Art of the National Institute of Fine Arts (INBA).
Juan Guillermo Sánchez Bolaños, his real name, stood out in the acting field thanks to his participation in theater and film productions, which earned him the Virgina Fábregas medal in February 2001, awarded by the National Actors Association (ANDA), for more than 25 years of uninterrupted career.
He founded his own theater company which he named "San-Gil", in honor of his late father's name, Don Guillermo Sánchez. He was a teacher for seven years in the acting and theater workshop at CEA, and served as stage director at the experimental and amateur level in 108 plays.
Canoa: A Shameful Memory
Felipe Cazals
Ernesto Gómez Cruz, Enrique Lucero
A group of students arrives in a small town during a hiking expedition. Once there, the local priest accuses them of being communist agitators on the run from an army crack-down against student demonstrations in nearby Mexico City and rallies the townsfolk to lynch them. Based on a true story.
Canoa: A Shameful Memory
The Bricklayers
Jorge Fons
Ignacio López Tarso, Adalberto Martínez
When a worker is found murdered on the construction side, the investigation swiftly turns from things criminal to the political circumstances surrounding the building itself. Widespread corruption and neglect by the builder himself are seen to have brought the situation about. Much of the movie is filmed using hand-held cameras, and the majority of the dialogue is in the difficult-to-understand and very slangy Spanish dialect of Mexico City's bricklayers.
The Bricklayers
Arráncame la Vida
Roberto Sneider
Ana Claudia Talancón, Daniel Giménez Cacho
A young girl recounts her girlhood and eventual marriage to a general of the Mexican revolution. by one of the most outstanding writers of the new feminist Mexican literature, it is at once a haunting novel of one woman's life and a powerful account of post-revolutionary Mexico from a female perspective.
Tear This Heart Out
New World
Gabriel Retes
Aarón Hernán, Tito Junco
Towards the end of the 16th century, the Spanish conquerors living in the New World faced a serious problem: the evangelization of the indigenous people, who did not understand or accept Christianity due to their unshakable faith in their own religion. The court of the Inquisition cracks down on heretics and the natives prepare for a general uprising ...
New World
Actas de Marusia
Miguel Littín
Gian Maria Volonté, Diana Bracho
Chronicle of the repression that a foreign company exerts on the miners of a small nitrate town in Chile, whose workers decide to claim their most essential rights. A reflection of the historic union struggles in the northern Chile that ended with terrible repressive acts.
Letters from Marusia
Naufragio
Jaime Humberto Hermosillo
José Alonso, María Rojo
One woman lives waiting for her son who is a sailor. She hasn't seen him for years although he writes to her a lot. The woman shares the letters and her grief with a co-worker and friend. This last woman begins to idealize her friend's son.
Naufragio
The Queen of the Night
Arturo Ripstein
Patricia Reyes Spíndola, Alberto Estrella
The legendary life of Mexican singer Lucha Reyes is the basis of this fictionalized biography ( or as director Arturo Ripstein puts it "an imaginary biography"). Lucha Reyes was an unconventional, and sexually liberated woman, most famous for her "cancion ranchera" style singing. Her story begins in 1939, where at 33 she still lived at home with her mother, Dona Victora, the madame of a renowned Mexico City whorehouse. Lucha marries the liberal Pedro Calderon and then buys a beggar's daughter. She becomes the mother to this child, Luzma. Lucha craves lasting love like junkies crave heroin. But for her loyal daughter, she never finds it and in the end no one can help her.
The Queen of the Night
Nobody Will Speak of Us When We're Dead
Agustín Díaz Yanes
Victoria Abril, Pilar Bardem
Escaping gangsters trying to kill her because of being witness to a crime, Gloria (Victoria Abril), a young woman of lower class, comes back to Madrid, Spain and to her family. There she tries to find work and earn some money.
Nobody Will Speak of Us When We're Dead
Mezcal
Ignacio Ortiz
Dagoberto Gama, Ana Graham
A group of beings permeated by the lack of love, guilt, pain and a desire for revenge, meet on the day of a storm at a cantina in the mythical town of Parián, a place where all roads and all destinies converge. There they find consolation for their woes in mezcal and in the distress of the others.
Mezcal
