Battle in Heaven

In a gritty portrait of life on Mexico City's streets, Marcos (Marcos Hernández) struggles to reconcile his moral compass with the harsh realities of his working-class existence. His day begins with a somber visit to the subway, where he stands by the side of his wife Berta (Berta Ruiz), who ekes out a living selling clocks and sweets at a humble stand. The weight of their circumstances is palpable as Marcos sets off on a journey that will lead him to confront the consequences of his actions.

At the airport, Marcos meets Ana (Anapola Mushkadiz), the upper-middle-class daughter of "the general," whose acquaintance he has maintained since her childhood. As they make their way to the seedy "boutique" where Ana works in the sex trade, Marcos's mind is preoccupied with the moral implications of his recent actions. The couple's encounter at the "boutique" reveals a complex dynamic, as Ana invites Marcos into the fold and he finds himself increasingly disengaged from the experience.

The emotional toll of his secrets begins to take its toll on Marcos, who confesses the shocking truth to Ana: he and Berta had kidnapped a baby, only for it to succumb to tragedy before they could collect any ransom. Ana's stoic reaction serves as a poignant reminder that even in the darkest corners of life, people often find ways to cope with the unbearable.

As Marcos returns home, his relationship with Berta (Berta Ruiz) takes on a melancholic tone, as they commiserate over their shared sorrow and the weight of their secrets. His subsequent visit to Ana is marked by a sense of unease, as if he's aware that he can't keep his demons at bay forever. Her advice to turn himself in to the authorities serves as a stark reminder that the truth will eventually come to light, no matter how hard one tries to bury it.

As the group, comprising Marcos, Berta, their son, and a few acquaintances - including the distraught mother of the deceased infant, oblivious to the grim fate that has befallen her child - venture into the countryside, Marcos shares with his wife a profound decision: he intends to surrender himself to the authorities. Berta implores him to delay this course of action until after the pilgrimage in honor of the revered Lady of Guadalupe, an event Marcos had previously demonstrated little enthusiasm for. Initially seeming to acquiesce to his wife's request, Marcos' mental state begins to deteriorate further, and instead of returning with his companions, he sets out on a solo trek across the rustic landscape.

As the sun reaches its zenith, Marcos arrives at a peak adorned with Christian crosses, overlooking a valley that stretches as far as the eye can see. With tears streaming down his face, he buries his hands in his head, overcome by the weight of his conscience.

Later, Marcos pays a visit to Ana at her humble abode, informing her of his intention to turn himself in to the authorities that very day. Her response is a tender farewell kiss, which only serves to heighten the sense of foreboding. Marcos departs, but not before nature takes its course, and he returns to the apartment to commit a heinous crime: the fatal stabbing of Ana.

The authorities become aware of both the attack on Ana and the tragic demise of the baby, launching a manhunt for Marcos. As if driven by an otherworldly force, Marcos joins the pilgrimage to the Basilica, his initial footsteps slow and deliberate, gradually giving way to a more fervent pace - even resorting to crawling on his knees. A hood is placed over his face, but he continues forward, oblivious to the trail of blood that stains the fabric.

As the last of the pilgrims depart, leaving the Basilica vacant, the police permit Berta to enter and confront her husband. With a gentle touch, she strokes his head, only to watch as Marcos crumples to the ground. The film concludes with an eerie tableau: Ana performing a fellatio on Marcos as he whispers "I love you, Ana" in her ear; her response is a soft whisper - "I love you too, Marcos".