Her next two features, El Jardín del Edén (1994) and Sin Dejar Huella (2000) focus on the idea of borderlands while still sticking to her theme of females on a journey through Mexico.
In the film, Ana, a fake Mayan art smuggler, and Aurelia, a maquiladora worker, flee from Ciudad Juárez, Chihuahua in Northern Mexico and those who pursue them to Cancún in the Yucatán peninsula province of Quintana Roo.
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