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Crónica de un desayuno (2000)

In this deliciously kinky film that takes place in the wee hours of a Mexico City morning, long-absent Pedro returns to preside over his seriously bent family. But while Pedro is busy ... See full summary »


Benjamín Cann


Jesús González Dávila (play) (as Jesús González-Dávila), Sergio Schmucler (screenplay)
5 wins & 7 nominations. See more awards »


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Cast overview, first billed only:
Odiseo Bichir ... Roberto
Eduardo Palomo Eduardo Palomo ... Juan
José Alonso ... Pedro
Luis de Icaza Luis de Icaza ... Voceador
Miguel Santana Miguel Santana ... Teo
Bruno Bichir ... Marcos
Angélica Aragón ... Estela
Fabiana Perzabal Fabiana Perzabal ... Blanca
Roberto Sosa ... Chavo Pelo Rojo
Claudette Maillé ... Eugenia
Adriana Roel Adriana Roel ... Doña Lupe
Héctor Bonilla ... Ernesto
Arcelia Ramírez ... Yolanda
María Rojo ... Luz María
Julieta Egurrola ... Seño Fonda


In this deliciously kinky film that takes place in the wee hours of a Mexico City morning, long-absent Pedro returns to preside over his seriously bent family. But while Pedro is busy making love to his wife, their children Blanca, Teo and Marcos have different ideas about their father's return. Meanwhile, the neighbors are up to their own devices in a wickedly funny and highly charged erotic drama that involves a set of electric trains. This stylish film explores love at its extremes and sex at its most poetically inventive. Written by Anonymous

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Release Date:

October 2000 (USA) See more »

Also Known As:

A Breakfast Chronicle See more »

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Technical Specs


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Did You Know?


The part of Juan was originally intended for Demián Bichir. See more »


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Written and performed by Rubén Albarrán, Emmanuel del Real, Quique Rangel & Joselo Rangel
"La vida es un carnaval"
By Victor Daniel
Performed by Celia Cruz
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User Reviews

The worst defects of mexican cinema, all in one film
15 November 2000 | by f. baezSee all my reviews

Cronica de un desayuno combines the worst defects of mexican cinema, a rare feat nowadays.

It's pretentious: it wants us to believe that it is deep, only because some scene is out-of-focus, another is pseudo-surreal, yet another plays with the Eisenstein-Infante-Caifanes tradition of laughing-crying faces, the edition is fragmented, and it is all so solemn.

It has a weak script: the main story hardly develops, so it has other three smaller, needless stories, stuck into it. They are only good to make the film last longer.

Most of the acting is bad. A true feat, baring in mind that many of the best known mexican actors were cast.

There is an abuse of unnecesary foul language. To the point that the character of Paloma, who symbolizes the dreams of freedom of a child, uses it throughly.

It is homophobic. The character played by Eduardo Palomo is the sorriest, and most punished, representation of a transexual I have ever seen.

It is very boring. I ended up envying the people that left the theater before the end of the film.

Whatever it tries, it has been done better, in Mexico and elsewhere.

In other words: "Para partirte la madre, nada como una mala película"

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