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28 Jan – 7 Feb 2027

Jaime Romandía

More information will follow soon.

Jaime Romandía at IFFR

  • Batalla en el cielo

    Carlos Reygadas | 98' | Belgium | None

    The sequel to Japón is a big-city story of demise in mega-city Mexico about a fat driver, the beautiful daughter of his boss and the…
  • Los bastardos

    Amat Escalante | 90' | France | None

    Stylised, penetrating and eventually shocking narrative about illegal Mexican brothers in California who do anything to earn money. The tasks they tak
  • Sangre

    Amat Escalante | 90' | France | None

    Warmly greeted, firmly styled debut by the former assistant director to Carlos Reygadas. The life of a simple man is made up of boring work…
  • Stellet licht

    Carlos Reygadas | 127' | France | None

    Regular IFFR guest Reygadas (Japón, Battle in Heaven) situated his beautifully shot third film in a blonde Mennonite community in northern Mexi
  • Halley

    Sebastián Hofmann | 85' | Mexico | European premiere

    Beto is dead and can no longer hide this with make-up and perfume. Life stops. For zombies too, at some stage. But before we get…
  • Post tenebras lux

    Carlos Reygadas | 120' | France | None

    Dreamlike, extremely personal and visually surprising film by the Mexican master. Also puzzling. What do those rugby playing kids have to do with that
  • Heli

    Amat Escalante | 105' | France | None

    Heli doesn’t do drugs, but the threat of the drugs cartels is always close by in Mexico. One wrong decision results in a barbarous kidnapping…
  • La región salvaje

    Amat Escalante | 100' | Denmark | None

    How it works exactly is hard to say. There’s a meteorite. Véronica is overcome, horror film-style, by extreme lust. And she’s not the onl
  • Pacífico

    72' | Mexico | World premiere

    The building site of a house (designed by architect Ando Tadao) by the beach in Mexico is the setting for this loving, crystal-clear film focussing…
  • Jauja

    Lisandro Alonso | 108' | Argentina | None

    The vision of Lisandro Alonso, the blinding photography of Kaurismäki’s regular cameraman and the use of actor/musician Viggo Mortensen combined to en