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It is May 1520 in the vast Aztec Empire one year after the Spanish Conqueror Hernán Cortés' arrival in Mexico. "The Other Conquest" opens with the infamous massacre of the Aztecs at the Great Temple of Tenochtitlan [what is now called Mexico City]. The sacred grounds are covered with the countless bodies of priests and nobility slaughtered by the Spanish Armies under Cortés' command. The lone Aztec survivor of the massacre is a young Indian scribe named Topiltzin [Damián Delgado]. Topiltzin, who is the illegitimate son of the Aztec Emperor Moctezuma, survives the onslaught by burying himself under a stack of bodies. As if awakening from a dream, the young man rises from among the dead to find his mother murdered, the Spanish in power and the dawn of a new era in his native land. A New World with new leaders, language, customs... and God. Representing the New Order is the Spanish Friar Diego [José Carlos Rodríguez]. His mission is to convert the "savage" natives into civilised Christians; to replace their human sacrifices and feathered deities with public Christenings and fealty to the Blessed Virgin Mary. With Topiltzin, Friar Diego faces his most difficult spiritual and personal challenge, for when Topiltzin is captured by Spanish troops and presented to Cortés [Iñaki Aierra], the Spanish Conqueror places Topiltzin's conversion under Friar Diego's care. Old world confronts the New as Topiltzin struggles to preserve his own beliefs, whilst Friar Diego attempts to impose his own. All the while, the question remains: who is converting who?

Two students, Gerardo and Jonas, are in love. However, Jonas becomes obsessed with another boy, which leads to Gerardo moving into arms of Sergio.

A young student, Mati, breaks up with and constantly humiliates Gabino, who is devoted to her - until he gets the opportunity to make her pay for her snubs.

At the time of the Mexican Revolution, Valentina is forced to hide with a traveling circus after the death of her father. There she establishes a friendship with Victor, a young man fascinated by the new cinema.

The memory and testimony of two characters: One, who was a child actor in the seventies, and Lilia Ortega, his mother, an actress. Fernando came out as a transvestite some years ago, and now calls himself with a different name. They live together in Garibaldi yearning for their past in the movies, while Coral bravely comes to terms with her gender identity. They both still perform.

A sensual and painful memory of the Mexican Revolution.

Camila and April grew up together in a little town on the coast and are best friends. There is an obvious attraction between them, although uncomfortable. April's family will move to the city, their paths will have to separate forever.

Eduardo, an aged judge, is being retired. With all his time now available he reads old papers and letters. He then finds the photograph of the singer Tina, his love of younger years. He decides to search for her and then discovers her fate, that of her husband and child.

Documentary made with interviews of people close to Buñuel.

Family movies, shot with a 9.5 mm Pathé Baby camera, let us know traditions, customs, joys and sorrows of a Mexican family from the 1920s to the 1950s.

A gloomy office clerk adopts a stray dog believing this will help him gain the recognition of his girlfriend's family. But the animal only causes the start of his downfall. The young man will try to preserve his status by all means.

Drifting from fiction to documentary, Greatest Hits tells the story of Emilio, a man in his fifties who shows up at the family home after fifteen years of absence. His wife and his twenty-eight year old son receive him with bitterness and confusion. After a couple of days they decide to kick him out, only to find out that he has left on his own accord. The son ends up tracking down Emilio and spends a couple of days hanging out with him in his apartment.

Billy Twist's mother wants him to get a haircut before his piano recital. As a precaution she takes his walkie talkie. Billy wants it back and takes drastic measures.

The 21st-century age of migration comes into deeper focus in this poetic look at the border between Mexico and its Central American neighbors, the first obstacle between hopeful migrants and their dreams for a better life. For thousands of immigrating Guatemalans, Hondurans, Salvadorans, and others, southern Mexican border towns like Tapachula, Chiapas, are where the dangers of their journey begin: If the police don't get you, the thieves will (and if the thieves don't rob you, the police will).

This documentary follows the lives of four mailmen in four different countries.