Muerte es Vida (Death is Life)

After emigrating from his hometown in search of a better life, Chef Gaudencio Ruiz Mateo, defying all possibilities, found success at the highest level of his craft while longing to return home.

All cultures and ancient traditions tell about our being far beyond matter. 'The 1 Field', using the scientific tools of the 21st century, examines this assumption through interwoven storylines: The life stories and researches of groundbreaking figures in the study of consciousness, and scientific experiments supervised by research institutes and scientists worldwide. Can spirit be measured? Is there a field that connects everything? Can we use consciousness to influence our lives, our bodies and our environment, beyond genes or environmental limitations into which we were born?

We are at a point in our evolution where our actions determine our survival and that of countless species. But what is the fundamental cause of our urge to destroy ourselves, other living beings and the earth? And - is it too late - or do we still have a chance to achieve paradise on earth?

Most people were first exposed to Michael C. Ruppert through the 2009 documentary, Collapse, directed by Chris Smith. Apocalypse, Man is an intimate portrait of a man convinced of the imminent collapse of the world, but with answers to how the human spirit can survive the impending apocalypse.

Around the film hang fascinating questions about border politics, which I’ll touch on in an introduction before the screening. One of Eugene Buck’s motivations for making the film may have been his rough cross-examination during his kidnappers’ first trials, in October 1913, when defense attorneys cast him as a confused and unreliable witness against idealistic freedom fighters. On film he could reproduce the pursuit, the shootouts, his kidnapping, and his friend’s murder just as he had testified. Reenacting the crime on film may have been the best revenge—and a way to honor the sacrifice of Deputy Ortiz, a twenty-year police veteran and, for the era, a rare Mexican American lawman.

Takeda is a film about the universality of the human being seen thru the eyes of a Japanese painter that has adopted the Mexican culture.

Arab-American filmmaker Yumna Al-Arashi embraces the rhythmic rituals that have run alongside Islamic tradition throughout the centuries in this surreal and poetic short film. Piecing together old and new, Al-Rashi's dream-like imagery breathes fresh air to a subject hardly seen in positive light.

Rosa is a Mexican woman who, at the age of 17, migrated illegally to Austin, Texas. Some years later, she was jailed under suspicion of murder and then taken to trial. This film demonstrates how the judicial process, the verdict, the separation from her family, and the helplessness of being imprisoned in a foreign country make Rosa’s story an example of the hard life of Mexican migrants in the United States.

As was common in Diaz's Mexico, a young hacienda worker finds his betrothed imprisoned and his life threatened by his master for confronting a hacienda guest for raping the girl. This film is the first of several attempts to make a feature-length motion picture out of the 200,000-plus feet of film shot by Sergei Eisenstein, on photographic expedition in Mexico during 1931-32 for Upton Sinclair and a cadre of private American producer-investors. Silent with music and English intertitles.