In Mexico, indigenous women have long been citizens of the Queendom, a vast, ancestral entanglement between women and mushrooms that has existed for millennia. Today they nurture relationships that combine ancient knowledge and alternative futures. Our story structure mirrors that of the mycelial web: following the connections between women and mushrooms who act as nodes of resistance in a network that stretches across the country—and beyond. In this speculative documentary, three indigenous Mexican women, a mycologist, an activist, and a master forager, team up with fungi to fight for their future and for the future of the planet.

On the coasts of various countries in the Caribbean Sea, fishermen, scientists, businessmen, tourists and inhabitants in general coexist with a new plague: sargassum. This seaweed has turned once paradisiacal beaches brown with a repugnant smell. Therefore, heavy machines move in and out of the water on a daily basis in a sisyphean attempt to remove the new algae that appears every day. This natural phenomenon is a consequence of climate change, yet there is still little that is known about it and no regulatory measures are in place. With this film, the struggle of the people from these coasts are unified into one shared voice.

A firefighter from the future warns us about the great climate crisis of 2045. He and his crew struggle to fight one of the worst wildfire seasons in history, engaging body and soul to protect humans and nature, and the only good we all have and share: life.

For the Indigenous and Afro-Mexican communities in Oaxaca’s Pacific coast, the fate of water is determined by the ritual and the political; prayers for rain, fishermen’s daily struggles and the permanent threat against communities in the Río Verde all show how life depends on the fate that water delivers

In Cárdenas, Tabasco, the Sánchez Magallanes village is among the most vulnerable of places to disappear underwater due to global warming. Although some of its residents resist, its architecture, eroded by the sea and by desertion, already reflects the pressure that pushes its inhabitants to leave

Q’eqchi’ families from Alta Verapaz face a fight against the African palm companies, Chiquibul and Tecniservicios S.A. The pesticides that reach the rivers in the winters have generated ecocide in the area. The palm industry has tried to reduce this pollution by introducing a non-native fish that is exterminating the native species. These companies have polluted the water and the air and have caused deforestation. Land grabbing has left Q’eqchi’ families landless, causing them to migrate to nearby towns or even other countries. Using ancestral strategies such as diversified agriculture, the Q’eqchi’ people have organized to stop the rapid expansion of the African palm to prevent more extractive projects from reaching their lands

After being held at gunpoint by a group of armed men, a journalist and his team decided to suspend their investigation into how the fourth richest man in Mexico and his mining company are terrorizing a town in the Sonoran desert after being legally expelled and required to pay back the gold taken from the community. A couple of years later, a version of the story published in the national press brings the journalist back to the case. In a journey through the roads of Sonora, ejidatarios (communal land owners), lawyers, activists, academics and journalists expose the different sides of the whirlwind in which they find themselves.

A group of fishermen and their families from the El Arenal and Río Arriba communities in the Soconusco region of Chiapas struggle on a daily basis to survive in the face of palm oil production and the policies of its processing companies, revealing the consequences that this monoculture imposes on their lands and bodies.

“On top of my house’s roof, a gigant lagoon was formed. I swam up without knowing how to swim, because my feet were no longer of this world. Instead of fish, I found my dirty socks and some marbles I thought I had lost. Up there my bed and many others became rafts and our games became rescues. After the storms Eta and Iota left, we finally went down to what was once our home and now we have to rebuild”. Diving Frogs is a documentary project that was born from the damage caused by the storms Eta and Iota in Campur, Guatemala, where the town was flooded, forming a large lagoon. Several children and adolescents organized rescue groups to help each other and save lives. The film uses documentary, theater, animation and fiction to explore what happened from their point of view, creating scenes that revive and question what took place, while also making use of aquatic elements that were part of that moment. It is a playful, imaginary and hopeful documentary, but one that also criticizes the actions of the government, extractive industries and social pollution that cause climate change. We want the public to question the reasons for these catastrophes so that they can be a part of their prevention

Betty Vásquez is a feminist environmentalist living in a community affected by the hurricanes Eta and Iota. Together with other women, she is organizing a movement against extractive projects on their territory. María Caal, a Maya Q’eqchi’ defender, assumed the collective leadership of “La Resistencia,” a collective that defends the Q’eqchi’ culture and confronts an international hydroelectric company that has piped several rivers on their land. Betty lives in Honduras, Maria in Guatemala. Without knowing each other, they are united by one thing: the defense of the rivers in their communities.

Angelica is an activist in the defense of the ancestral land of her Q’eqchi’ community where her husband was murdered for defending the territory. The installation of a transnational mining company threatens her life and that of her family. After a peaceful people’s resistance, the mining company still continues its repression and persecution. Angelica fights to defend what little she has left.

Theatres of Landscape is a theatrical piece of docufiction. Using the central desert region of Coahuila as its focus, it seeks to generate a dialogue between science, activism and the arts to enable aesthetic approaches that trigger strangeness, surprise and curiosity so that viewers can imagine alternative strategies for the preservation and promotion of our natural heritage. In this project the landscape is the scene, the theatre. A theatre where we are summoned to select from the chaotic current of nature, its internal rhythms and cycles, the threads that connect it with our existence. What does the landscape tell us about? And what if we learned to observe it by other means? Can we conceive of non-human forms of reading, writing or theatre? How are these non-human or non-capitalist expressions created and consumed?

A Zoque community in the north of Chiapas seeks to awaken the consciousness of humanity through the defense of Cerro Atziki, a sacred place that is free from the mining industry. Through this film, we accompany its inhabitants in their daily activities and get to know the force that guides them in their resistance.

A community in Oaxaca has to make a decision: to accept or reject a proposal to allow a mining company to enter their town. In this docu-fiction, Yenni (39), Yuliana (34) and Isabel (45) participate in the discussion, while we get to know them and their lives as women, mothers and lovers.

The last lake area of Mexico City is under constant threat by attacks of modernity and oblivion. 184 kilometers of canals is what remains of a basin that was once covered almost entirely by five lakes. The history of this lake is woven with testimonies of its inhabitants, reflecting on its importance for the city. This observational and sensorial documentary will immerse us in images and sounds typical of life in Xochimilco, the last lake of Mexico City.