《临界之地》是一个过渡区域，在那里，太阳、风、水和细菌的基本能量在虚拟现实中与参与者的身体产生连接。

Liminal is a hazy recollection of a lost girl turning thirty, suspended in the in-between spaces. At its heart, it’s about female friendship: that singular bond that can anchor us through the chaos of identity, time, and transformation. Beneath the film’s dreamlike surface is a quieter question about what keeps us here, what reminds us to hold on. In Liminal, friendship becomes not just a source of beauty, but a lifeline — a reminder that even in the most fragile moments, connection can tether us to life itself.

The cycle of Steve's life choices are too large for him to recognize any pattern within. But as time is compressed and he flows through spirals of love and sexuality, he begins to sand down distractions and distortions to reveal an essential wound at his core. In liminal, the abstraction of dance may hold a place where our imaginations can project an ineffable experience. Words can fail in cinema where dance and movement may succeed.

一群航班乘客被困在一个度假岛上，他们被迫直面自身贪婪、仇恨和妄想的内心恶魔。一对富有的夫妇在寻找他们的狗时迷失在森林中。当妻子不慎滑下斜坡时，丈夫选择任由她坠落而亡。一位鳏夫帮助了一名哮喘发作的女子。她找借口接近……

A FICUNAM commission for four directors, Liminal seeks to play with poetic affinities between film and music. Moving across aesthetic and generational differences, the film-makers explore this relationship through four distinct stories as to context and imaginary. Within the category of world cinéma d’auteur, Philippe Grandrieux and Lav Diaz have much in common in terms of their affinities with radical cinematographic form: both are extremely inventive in their practical relationship between music and narration. With La lumière la lumière (Lights, lights…), the French artist and director evokes the obsessive relationship between two women whose existence is kept by a lugubrious voice and by Alan Vega’s and Marx Hurtado’s famous Saturn Drive Duplex. In The World is Cold, the Filipino director describes a young man’s life and his musical dreams intertwined with images of an erratic, phantasmagoric future full of obstacles. Relying on an entirely different aesthetics, Manuela de Laborde and Óscar Enríquez, two young directors of Mexican descent, approach musical phenomena quite differently. Through chaotic sound textures, Manuela de Laborde takes us towards three radically distinct landscapes in her Azúcar y saliva y vapor/Sugar, saliva and steam where subtle and sensual musical textures interweave with a leitmotiv in the background. In Lady Lazaro, Óscar Enríquez employs opera singing both as a protagonist and as a supernatural means of spiritual healing for broken souls.

The love story of Zuleyha, ​​who grew up without a father and works with Yilmaz as an auxiliary weaver in order to earn money for her brother, a gambler. The lives of these two young people blinded by the love of one ordinary night will turn into a dark nightmare. This nightmare will take them first from Istanbul and far away, and later to the estate of the Yaman family. In the first episode of the series, Yilmaz and Zuleyha set out to work on the Yaman estate. However, because of one of Zuleyha's lies - the lives of all of them will change radically.

A sheriff and his posse set out to catch a murderer, but their mission proves more dangerous than anyone suspected after they become stranded in the desert and attacked by Apaches.

影片改编自直木赏获奖作家黑川博行杰作小说《劲草》，安藤樱、山田凉介扮演姐弟，为了生存两人走上了特殊欺诈的道路。某天晚上，两人无意间拿到了不义之财，随后一群恶势力开始盯上了他们。

At the beginning of the 20th century, the Nicaraguan poet Rubén Darío fulfilled a dream of youth, travelling to Spain and touring Andalusia. It was a journey in search of the sun and a light that would heal him from his chronic bronchitis and the sadness in which he was submerged. An expedition in search of beauty, to the lands of the sun. Solar Lands presents this little-mentioned moment in the life of Darío, but it also helps us to learn about his life and the main characteristics and importance of his complete work from the hand of specialists and high-level women and men of letters. The actor Pedro Casablanc gives voice to the verses of Rubén Darío in this beautiful documentary, which was Laura Hojman's first directing work.