Michelle Betancourt

After the death of her abusive husband, Matilde finds her new best friend in Miguel, her young, insecure, and disoriented neighbor.

Mexico City, November 1901. The police raid a private home where a secret party is being held. Among those attending is the son-in-law of President Porfirio Díaz.

Fragments of a meteor crash in Mexico and United States. Thirteen stories in different spaces and times happen in places of collisions .

After the sudden death of their parents, two sisters, Celeste and Soledad, must find a way to put aside their differences in order to adapt to their new life.

A small seductor pays homage to Mauricio Garces movies. Two years have gone by since Raul suffered a terrible love disappointment that transformed him into Sombra, a master of seduction. Raul shares his don juan secrets with Rodolfo, Luis and Waldo, three funny characters who don´t have any luck with women.

A day before her son's wedding, Agustina tries to have the ceremony called off, only to discover that Emilia, the orphan girl betrothed to her son, still has someone ready to come to her defense.

Eva moves into a new apartment, where she finds an old wardrobe that serves as a supernatural portal, allowing her to discover different versions of herself.

Cecilia arrives in Guadalajara for the first time to study at the Faculty of Literature and become a writer. There she meets Nicolás and Aristeo, young men who claim to be the founders—though in reality the only members—of the Underground Ultraism, a literary movement that aims to change Mexican literature. Through them, she meets Pita, an irreverent and openly bisexual poet with whom she forms a genuine bond. Cecilia finds a new sense of belonging in this group, until the friendship holding it together begins to fracture under the weight of envy.

Ana and Rita are flat broke. So when unpredictable Alex offers them a job, they kind of have to say yes -- to the gig and to a big ol' mess.

A filmic reflection on the way in which cinema taught us to live romantic love during the 20th century, building an impossible ideal within our personal relationships. Cinema taught viewers how they had to see it, worse, it showed directors how they had to film it. Based on quotations from early cinema films, Contar el amor discusses the role of sex and violence as central themes in our increasingly broad but, at the same time, less pluralistic audiovisual universe.

On a gloomy Sunday in Mexico City, three friends in their twenties look for a female friend that disappears at an after-party. As they believe the worse could be happening, and while confronting characters and situations that represent a fraction of the problems of contemporary Mexico, their dreams, concerns and fears come to light.

A place that seems out of time for everyday life, a long line of women waiting. And inside a room, three of them sitting... a cello piece transports them to their own experience of pleasure, body and eroticism. An exploration from a female perspective of the audiovisual and its ability to produce pleasure beyond narrative schemes. Female pleasure, liberation, feminism, gender, appropriation of the body, sexual freedom, women, cello, music, old age.

Jhony passes the summer with his older brother, who wastes his time along his friends, obsessed with alcohol, pornography and the different women he takes into his mother's bedroom. One day, a girl named Misha arrives at the neighborhood, fracturing their monotony. Nobody knows anything about her, except that they call her Misha because of her green eyes, like those of cats.

Just outside her apartment, Ana finds Dina, a naked, mysterious and confused young woman. Ana invites Dina in and calls a couple of persons so that they can meet her. Pamela and Raymundo, human traffickers, show up to negotiate the buying of Dina, who claims that she comes from the future and that she is actually on a mission to investigate how far human evil has grown in Mexico by the year 2015. The young woman provokes an unsolvable dispute between the traffickers, who end up dead.

La mujer de Judas is a Mexican telenovela produced by Maricarmen Marcos for Azteca. It is based on Venezuelan novela of the same name. It stars Anette Michel, Victor Gonzalez, and Andrea Marti. It replaced Cielo Rojo on January 13, 2012. Adapted by Paz Aguirre and Gabriel Santos, this adaptation is supervised by the original writer, Martin Hahn.