The selected productions will screen on public television and the digital platform Nuestro Cine MX.

Mexico will commemorate World Day for Audiovisual Heritage with a special program organized by cultural institutions, including film screenings, premieres, and activities to promote the preservation of the nation’s film heritage.

RELATED: Mexico Launches Film Educational Program for Elementary and Middle Schoolers

Between October 27 and November 3, seven films from the collection of the Mexican Film Institute (IMCINE) will be screened in eleven independent venues across nine states.

The selected productions will also screen on public television and the digital platform Nuestro Cine MX, expanding public access to materials considered part of Mexico’s audiovisual heritage.

One of the program’s main attractions will be the screening of the restored version of “Valle de Mexico” (1976), a short documentary by Ruben Gamez that portrays the region’s rapid urban growth during the 1970s.

Celebramos el Día Mundial del Patrimonio Audiovisual con una programación dedicada a la preservación de la memoria fílmica mexicana. 🎞️

La función reunirá cortometrajes restaurados y materiales digitalizados que forman parte de nuestro acervo. Entre ellos, se proyectará por… pic.twitter.com/sh3TBUb206

— Cineteca Nacional (@CinetecaMexico) October 21, 2026

The text reads, “We celebrate World Audiovisual Heritage Day with a program dedicated to the preservation of Mexican filmic memory. The screening will feature restored short films and digitized materials that are part of our collection.”

The restoration of this film was carried out by IMCINE in collaboration with Estudios Churubusco, using a positive print preserved in the archives of the National Film Archive (Cineteca Nacional).

The program also includes outstanding Mexican films such as “Un cuento de ciudad,” “Amada,” “El héroe,” “Hasta los huesos,” “El fantasma del convento,” and “Cronos,” works by renowned Mexican filmmakers.

Secretary of Culture Claudia Curiel said these activities reflect the institution’s commitment to preserving audiovisual heritage, as well as to encouraging new generations to learn about their history through Mexican cinema.

Crisis Unleashes Deadly Floods Across Latin America and Europe

Deadly floods strike three continents: at least 3,000 families are affected in Paraguay; 10 people have died in Mexico due to Cold Front 2; and six have been killed in Spain by Storm Adam, which has forced more than… pic.twitter.com/XMZ0nC3qo4

— teleSUR English (@telesurenglish) October 21, 2026

teleSUR: JP

Source: Prensa Latina

Elliott Fullam, Finn Douglas and Oscar O'Meara round out the cast for the feature set in the world of 1990s punk rock.

Shot by Sofia’s mother Eleanor this documentary shows something of the strain of shooting a period piece, but is a far cry from the tumultuous portrait of her husband in Hearts of Darkness

It is 20 years since the release of Sofia Coppola’s Marie Antoinette starring Kirsten Dunst; it is a supportively unjudging, unironised study of the queen’s early years before the 1789 revolution, lavishly and accurately costumed, shot on location at Versailles and based on the Antonia Fraser biography – but also subversively and amusingly using pop tracks from the 70s and 80s on the soundtrack. It got a storm of booing from French critics, reportedly annoyed at the way their history had been reduced to a music video and fashion shoot with no French actors involved. Or hardly any.

In fact, for all the lack of political grit, the film was interesting and accomplished, and deservedly has a fanbase – and it is to that constituency that this making-of documentary from the director’s mother Eleanor Coppola is really addressed. It is basically a sweet family home movie on digital video which shows something of the strain and the longueurs of shooting a demanding period picture, but tactfully not seeing anything really explosive or bad-tempered. It is very far from Eleanor Coppola’s sensational behind-the-scenes film Hearts of Darkness: A Filmmaker’s Apocalypse about the tumultuous creation of Apocalypse Now, directed by her husband Francis Ford Coppola.

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© Photograph: Sofia Coppola

© Photograph: Sofia Coppola

© Photograph: Sofia Coppola

Olivia Colman goes vulpine, Rupert Grint’s newborn is a monster and Joko Anwar makes a warmhearted violent ghost story set in an Indonesian prison

If I’d ever wanted children, the films showing at the 59th edition of the International Fantastic film festival of Catalonia in the coastal town of Sitges, south of Barcelona, would have soon set me straight. This year’s recurring themes were explosive parturition, chewed-up nipples and the fruit of the womb turning out to be at best sociopathic, at worst inhuman.

The theme was celebrated in an evil-kiddy exhibition at the Miramar Cultural Centre, marking the 50th anniversary of Narciso Ibáñez Serrador’s “fantaterror” classic Who Can Kill a Child?, some of which was filmed in Sitges itself. The expo traced the subgenre from 1956’s The Bad Seed, via Rosemary’s Baby and The Exorcist, to this year’s Nightborn, in which poor Rupert Grint, as the hapless husband, is no match for the developing folk-horror bond between his depressed wife, their newborn “child”, and the spooky forest surrounding their house. Finnish director Hanna Bergholm, in her introduction, confessed it was inspired by her experiences of motherhood. Only up to a point, one hopes.

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© Photograph: Andrea Miconi

© Photograph: Andrea Miconi

© Photograph: Andrea Miconi

Kevin Dupzyk’s profile of Sam Rockwell, a “legendary scene-stealer” now in his fourth decade of work, is a crisp and entertaining one-act, with journalist and actor holed up in a spare Manhattan greenroom. Dupzyk studies Rockwell while Rockwell studies the room, testing the durability of his own idiosyncratic observations—about Red Bull and loss and rain—to see what they might yield in a conversation with a stranger. Dupzyk had wanted to “gin up some action for this story,” but it’s strangely compelling to watch Rockwell’s gaze prowl the room, to see what lodges in the filter of his creative process.

Rockwell is a good tennis player. And like any good athlete, he trains. For as much as he appears to get by on natural charm and charisma, he is an actor’s actor, a true believer, in his words, an “acting nerd.” Research. Running lines. Exerci—

“Do you know what a gibbon is?” Rockwell asks.

“Like, a monkey?” I say, confused.

Pat Caldwell is 69 years old and, as Chris Stanton gushes in this uproarious Q&A, “a legend to IMAX nerds.” Caldwell loves Vision3 film stock, hates Joker: Folie à Deux, and has discovered more than one dead body in a movie theater. His decades-long career as a projectionist includes a stint at a Tennessee porn theater with “very good equipment,” and he once spent half a year screening Lawrence of Arabia four times daily. When Stanton reached out to Caldwell on the occasion of The Odyssey, he may have landed the year’s most entertaining interview.

So Sam taught me how to run the projectors, and he got drunk, passed out on the couch. And after the concession stand in the box office closed, I would go up and run the rest of the movies for him. This went very nicely until one night there’s a knock at the door. I opened the door and here’s this old man standing there. And I said, “Well, who are you?” He says, “I could ask the same question. Who are you? I’m the business agent of the local projectionists’ union.” I explained what was going on. He woke up Sam, chewed him out. And the next day they made me an apprentice. I trained for a year with no pay at all the local theaters in Nashville.

What moves the star of Jackass to risk his life for our entertainment? This “very serious investigation” involves interviews with friends and family, a surf trip to Malibu, a gag with a fake raccoon, and a stop at In-N-Out:

He nosed the car into the drive-through line, drawing stares as he nosed—some for the vehicle, some for the driver. Mostly male stares. A teen-age boy stepped up to the passenger window and leaned in to take his order.

“One hamburger with tomato, lettuce, and mustard,” Knoxville said. “Fries, please. And a cup of water.”

“Onion?”

“No, sir.”

The teen-ager squinted. “You look familiar. Are you famous, by any chance?”

“Actually, completely by chance!” Knoxville improvised.