Me importa poco

Nacho Libre is loosely based on the story of Fray Tormenta ("Friar Storm"), aka Rev. Sergio Gutierrez Benitez, a real-life Mexican Catholic priest who had a 23-year career as a masked luchador. He competed in order to support the orphanage he directed.

A hacker who is spying on a pretty neighbour messes up his assignment to break into Swiss bank accounts for Russian mobsters.

A trio of unemployed silent film actors are mistaken for real heroes by a small Mexican village in search of someone to stop a malevolent bandit.

A man thought-dead comes home to find that his wife has sold their ranch and married a Mexican revolutionary.

Margo is an ex-stripper who meets her long, lost father in Mexico. She looks after him in the waning days of his life, with the help of a traveling projectionist. The father passes away, telling of the loot from a botched bank robbery that he buried years earlier. The two get jobs in town as their relationship grows and they search for the treasure on the weekends. But while the treasure seems to bring them together, it also seems to be tearing them apart.

Set in the late 19th century. When a ruthless robber baron takes away everything they cherish, a rough-and-tumble, idealistic peasant and a sophisticated heiress embark on a quest for justice, vengeance…and a few good heists.

Paco and Felipe invite their girlfriends to spend the weekend at the farm of Mr. Rodríguez and they get into comedic situations.

Jack Hammond is sentenced to life in prison, but manages to escape. To get away from the police he takes a girl as hostage and drives off in her car. The girl happens to be the only daughter of one of the richest men in the state. In a while the car chase is being broadcast live on every TV-channel.

A Hollywood songwriter goes through a mid-life crisis and becomes infatuated with a sexy blonde newlywed.

Three of the original five "young guns" — Billy the Kid, Jose Chavez y Chavez, and Doc Scurlock — return in Young Guns, Part 2, which is the story of Billy the Kid and his race to safety in Old Mexico while being trailed by a group of government agents led by Pat Garrett.

Around the film hang fascinating questions about border politics, which I’ll touch on in an introduction before the screening. One of Eugene Buck’s motivations for making the film may have been his rough cross-examination during his kidnappers’ first trials, in October 1913, when defense attorneys cast him as a confused and unreliable witness against idealistic freedom fighters. On film he could reproduce the pursuit, the shootouts, his kidnapping, and his friend’s murder just as he had testified. Reenacting the crime on film may have been the best revenge—and a way to honor the sacrifice of Deputy Ortiz, a twenty-year police veteran and, for the era, a rare Mexican American lawman.