Santos, an overweight pacheco fighter suffers from his recent divorce with La Tetona Mendoza, a voluptuous and wild female fighter. To get out of his depression, Santos begins a campaign to help Sahuayo Zombies. However, his philanthropic campaign soon becomes a very profitable business that leverages Santos for their benefit. The population becomes a zombie plague and Santos threatens to dispose of them. However, the Peyote Murderer gets rid of the zombies. But the world without zombies turns out to be worse than anyone could have imagined and the only choice to save the nation is for Santos and Peyote to work together to repopulate the world.

Santos, an overweight pacheco fighter suffers from his recent divorce with La Tetona Mendoza, a voluptuous and wild female fighter. To get out of his depression, Santos begins a campaign to help Sahuayo Zombies. However, his philanthropic campaign soon becomes a very profitable business that leverages Santos for their benefit. The population becomes a zombie plague and Santos threatens to dispose of them. However, the Peyote Murderer gets rid of the zombies. But the world without zombies turns out to be worse than anyone could have imagined and the only choice to save the nation is for Santos and Peyote to work together to repopulate the world.

This movie explores the complex creative process behind a film, as the actor, director, and screenwriter confront their personal and professional conflicts. Amid egos, artistic visions, and market pressures, they must find a way to collaborate and overcome their differences to bring the project to life.

Santos Palace is a coffee shop in Belgium. There, a waitress serves a strange client. Their eyes meet, minutes pass and we seem to witness a love story that hasn’t began or may have already started, with its potential jealousies and passions, or which may never happen at all; another type of romance. The feeling of seeing or being seen, the rhythmical editing, the use of cinemascope to make objects and spaces appear as abstract forms, the predominance of detailed shots: these are all obsessions, forms and audiovisual ideas that explode in this surprising film.

Santos Palace is a coffee shop in Belgium. There, a waitress serves a strange client. Their eyes meet, minutes pass and we seem to witness a love story that hasn’t began or may have already started, with its potential jealousies and passions, or which may never happen at all; another type of romance. The feeling of seeing or being seen, the rhythmical editing, the use of cinemascope to make objects and spaces appear as abstract forms, the predominance of detailed shots: these are all obsessions, forms and audiovisual ideas that explode in this surprising film.

When greed comes calling, say goodbye to saintliness. An irresistible comedy about what happens when the residents of a Mexico City apartment building discover that three religious figurines passed down through the decades from Emiliano Zapata are full of solid gold. Tempers fly, libidos flare and no one emerges unscathed, including viewers overcome by a heavenly dose of hilarity in Santos Peregrinos.

Hugo becomes a man when he challenges the sea to a football game

El cor de la ciutat is a TVC television soap opera first broadcast on TV3 on 11 September 2000 and last broadcast on 23 December 2009. The show is the most watched fiction program in Catalonia, Spain, especially among female audiences, drawing around 28-33% of the audience with as much as 40% during season finales. El cor de la ciutat follows the lives of the people who live and work in the neighbourhood of Sants and Sant Andreu in Barcelona, Catalonia, Spain.

Three parallel stories revolving around Mexico City’s Christmas celebrations intertwine in the film’s finale. In the first story, an estranged daughter seeks reconciliation with her family. In the second, two friends put their friendship to the test when they start working as competing Santa Clauses in Alameda Central Park. In the third, a lonely chef that cooks Christmas dinners for other families confronts her feelings for her kitchen assistant.

Eduardo Peña and Angel Ruiz are two Spanish actors who are on tour in Argentina. They try to achieve success there with a play that speaks of man and his passage through life, but the spectators are becoming increasingly scarce. One day his old car breaks down and they stop at Zapallares, a lost town. There, on the eve of the municipal elections, they meet an old friend, Professor Roberto Tolosa (Dario Grandinetti), critical of the construction of a new hotel and with the political class of the place and that will try to reopen a theater with the help of their fifth-year students, despite opposition from politicians.