A boy’s world shifts in 1990s Mexico City as family illness and new desire push childhood innocence toward something more complicated.

Bruno Santamaría Razo brings that transition to the screen in his first fiction feature,

Six Months in a Pink and Blue Building

, which debuts in Cannes Critics’ Week. Reports indicate the film centers on a child navigating a father’s illness while also confronting growing feelings for a best friend. That dual pressure gives the story its emotional charge: private grief on one side, awakening affection on the other.

The film frames pain through intimacy and memory, but it refuses to let sorrow swallow the joy of being young.

The project marks a notable turn for Santamaría Razo, whose work here revisits family pain through what sources describe as a lens of love and joy. That choice matters. Stories about illness and childhood often lean toward bleakness, but this film appears to search for warmth inside upheaval. The setting also carries weight, anchoring the story in 1990s Mexico City and tying personal transformation to a specific place and time.

Key Facts

  • Bruno Santamaría Razo’s first fiction feature debuts in Cannes Critics’ Week.
  • The film takes place in 1990s Mexico City.
  • The story follows a child dealing with a father’s illness and feelings for a best friend.
  • Reports describe the film as a look at family pain through love and joy.

That combination could help the film stand out in Cannes, where intimate coming-of-age stories often compete for attention alongside louder premieres. Here, the draw seems simpler and stronger: a deeply personal story told with emotional clarity. If early attention builds, Santamaría Razo may emerge from the festival as a filmmaker to watch, especially for audiences interested in memory, family, and the fragile moment when childhood starts to fall away.