The Ghost Story.

From Nicolás de Jesús, an indigenous Nahua artist from Guerrero whose printmaking practice has occupied the walls of the Metropolitan Museum of Art, comes a mockumentary horror film about a man named Simón and the supernatural events that a town may or may not believe he experienced. The film presents itself as a document of rumor, of community memory, of the contested space between witness and legend. It is, by the available evidence, a ghost story. The title confirms this.

The director's broader artistic biography is rich with political engagement: etchings of skeleton-characters crossing borders, murals in the tradition of Mexican social realism, a career spent dignifying rural indigenous life. One might expect all of that to arrive onscreen with considerable force. It does not appear to, at least not in any way that registers on our instruments. The film's horror framing absorbs its cultural context the way a small town absorbs a rumor: the shape changes, the urgency remains, but the original message becomes harder to verify. The result is a work that sits at the intersection of community folklore and found-footage aesthetics, which is a perfectly respectable place to sit.

With zero votes logged on TMDB and a release date of March 2026, "The Ghost Story." arrives at this desk without the usual critical apparatus surrounding it. We score what we can observe. What we observe is a Mexican regional horror production operating within its own cultural logic, not performing progressive credentials for an international audience, not checking boxes, not lecturing. The period at the end of the title remains unexplained. We have chosen to respect it.