A metacinematic reflection on the nature of representation and the ongoing drug war in Mexico, Nicolás Pereda’s Flora revisits locations and scenes from the mainstream 2010 narco-comedy El Infierno, exploring the paradoxes of depicting narco-trafficking on film—its tendency both to romanticize and to obscure. To screen is both to project and to conceal.

Flora is a circus elephant who can no longer perform her tricks. The night before she's scheduled to be euthanized, the circus owner's 14-year old daughter, Dawn, sneaks Flora from the circus. All that stands between them and the safety of the elephant preserve is two hundred kilometers of woods, one raging river, two elephant hunters and the fear of not making it.

Stella, 14, works nights. She sings 60s numbers between the stripper with a snake and gorgeous Doris in working men's clubs. She knows what makes her act a success, but does she want to be the sole breadwinner for her family?

In this dark and uplifting comedic short film, Death pays an unsuspecting Flora a visit telling her it's her time. However, Flora doesn't want to go.

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Acquired in July 1909 by art collector Wilhelm von Bode (1845-1929), director general of the Prussian Art Collections and founding director of the Kaiser-Friedrich-Museum, now the Bode-Museum, the Bust of Flora, Roman goddess of flowers, has been the subject of controversy for more than a century.

The tribulations of Maxim, who’s trying to rebuild his love life, and the trials of Livia, who’s trying to find herself. Although the young girl’s adolescent angst often clashes with her father’s middle-age crisis, they remain inseparable. Max realizes that Livia is growing up fast and starts doing everything he can to make up for lost time.

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