A metacinematic reflection on the nature of representation and the ongoing drug war in Mexico, Nicolás Pereda’s Flora revisits locations and scenes from the mainstream 2010 narco-comedy El Infierno, exploring the paradoxes of depicting narco-trafficking on film—its tendency both to romanticize and to obscure. To screen is both to project and to conceal.
as Hombre con peluca / Narrador
as Mujer en cuarto de hotel / Mujer con peluca
as Hombre a quien le roban la motocicleta
as Hombre que maneja camioneta roja
as Mujer que atiende en el bar
as Hijo del dueño de la mina / Ladrón de motocicleta
