Nearly thirty years after making his surrealist La Formula Secreta, director Rubén Gámez returned to filmmaking with this impressionistic portrait of modern-day Mexico. Reminiscent in some ways of Godfrey Reggio’s Koyaanisqatsi, Tequila appears to be a cinematic extension of Mexico’s muralist tradition, a contemporary equivalent of Diego Rivera or David Alfaro Siqueiros with vignettes, quick ideas, visual puns, cartoons, and political statements.

Jesse, a small-time criminal, high-tails it to Los Angeles to rendezvous with a French exchange student. Stealing a car and accidentally killing a highway patrolman, he becomes the most wanted fugitive in L.A.

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Richard Rent, a volatile LAPD cop, and Joe Thomas, a boarding schoolteacher, become targets of the city’s corrupt political machine and are forced to flee to Mexico. In the humid jungles of the country’s Pacific coast, an unexpected affair unfolds. As passion turns to reckoning, both men must confront the violence they fled and the illusions that once defined who they were – and who they fear they might become.

Against a background of war breaking out in Europe and the Mexican fiesta Day of Death, we are taken through one day in the life of Geoffrey Firmin, a British consul living in alcoholic disrepair and obscurity in a small southern Mexican town in 1939. The consul's self-destructive behaviour, perhaps a metaphor for a menaced civilization, is a source of perplexity and sadness to his nomadic, idealistic half-brother, Hugh, and his ex-wife, Yvonne, who has returned with hopes of healing Geoffrey and their broken marriage.

A group of international criminals steal a large emerald from a heavily guarded Colombian mine and they plan to sell it on the black market. Unfortunately, the evil Dr. Igor is also manipulating other criminals, as well as the ones who stole the emerald, for his own benefit. Santo, a Mexican wrestler/Interpol agent works with the Colombian authorities in an attempt to recover the emerald and to stop Dr. Igor and his subordinates, as well.

Opera in three acts, a prologue and an epilogue, by Jacques Offenbach (1819-1880), with a libretto in French by Jules Barbier (1825-1901), based on a work that Barbier himself and Michel Carré (1821-1872) had written based on stories by E.T.A. Hoffmann (1776-1822). Approximate duration: 2 h 45 min Recommended for those over 15 years old. The young poet Hoffmann, accompanied by Nicklausse, his alter ego and confidant, is in a tavern next to the theatre where Mozart's Don Giovanni is being performed. During the opera's intermission, some diners arrive at the bar who, upon seeing the poet, encourage him to sing and tell them the story of his famous love affairs. Hoffmann finally gives in and shares with them the stories of Olympia, Antonia and Giulietta. They, absorbed in the poet's stories, remain in the tavern, forgetting about the opera performance.

Karen Harrison is a spoiled, rich, American predator who falls head-over-heels for the brooding, tormented, about-to-retire matador, Luis Santos who has inexplicably run away prior to a corrida that was to occasion the "alternativa" of a young, up-and-coming bullfighter.

An American priest working in Mexico is considered a saint by many local parishioners. However, due to a botched exorcism, he carries a secret that’s eating him alive until he gets an opportunity to face his demon one final time.

Two stories of people who's life has changed after joining the cult of "La Santa Muerte" for both better and worse.

A teenager has a crush on his best friend's mom.

A man who loves when a plan comes together, Col. Hannibal Smith leads a close-knit team of elite operatives and Iraq War veterans. Framed for a crime they didn't commit, Smith and his men, Capt. H.M. ‘Howling Mad’ Murdock , Sgt. Bosco ‘B.A.’ Baracus, and Lt. Templeton ‘Faceman’ Peck, break out and go rogue, using their special talents to clear their names and find the perpetrator. Hot on their trail is Capt. Charissa Sosa, who was once involved with a member of Smith's team and has sworn to capture them, no matter what it takes.