Magda is getting divorced from an alcoholic mariachi in rehab. While she tries to find her inner strength by practicing pole dance she meets Jaime, who gets obsessed with her, unleashing a story of abuse and gender violence.
Ana is running away from her hometown while Mar, an old acquaintance of hers, is coming back after a long absence. They find each other in the middle of the road and through the night, they make a journey amongst their fears to find out that still waters run deep.
As a corporate auditor who works in a number of different offices, Jonathan McQuarry wanders without an anchor among New York's power brokers. A chance meeting with charismatic lawyer Wyatt Bose leads to Jonathan's introduction to The List, an underground sex club. Jonathan begins an affair with a woman known only as S, who introduces Jonathan to a world of treachery and murder.
After returning from a trip, a young dentist discovers that her home has been ransacked. Determined to recover part of her belongings, the protagonist initiates a criminal process within a corrupt and ineffective justice system that turns her life into a nightmare.
After witnessing the arrest of her father for publishing "subversive" material against the dictatorship of Porfirio Díaz, Valentina escapes taking a sack of gold coins with her in order to hand it over to rebel Francisco I. Madero, who is in San Antonio, Texas. That is how Valentina begins a long journey as a member of a traveling circus, where she finds love next to Victor, who, fascinated by the cinematographer, films everything that occurs before his eyes, in times of great political turbulence.
Two teenage friends spend their summer break preparing for the sexual conquests they hope to experience. That is, until one of the boys is visited by his older, more sexually aggressive cousin, Azucena. Ushering her naïve cousin into the world of sex could take more work than Azucena realized.
Nearly thirty years after making his surrealist La Formula Secreta, director Rubén Gámez returned to filmmaking with this impressionistic portrait of modern-day Mexico. Reminiscent in some ways of Godfrey Reggio’s Koyaanisqatsi, Tequila appears to be a cinematic extension of Mexico’s muralist tradition, a contemporary equivalent of Diego Rivera or David Alfaro Siqueiros with vignettes, quick ideas, visual puns, cartoons, and political statements.