The House of Flowers Presents: The Funeral

The House of Flowers Presents: The Funeral

Year: 2019

Runtime: 35 mins

Language: Spanish

Director: Manolo Caro

Comedy

The de la Mora family, their friends, acquaintances, and rivals gather for the funeral of Virginia de la Mora.

Warning: spoilers below!

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Timeline & Setting – The House of Flowers Presents: The Funeral (2019)

Explore the full timeline and setting of The House of Flowers Presents: The Funeral (2019). Follow every major event in chronological order and see how the environment shapes the story, characters, and dramatic tension.

Time period

Modern-day

The events take place in contemporary times, with recent travel means and current social attitudes shaping the family dynamics. The narrative unfolds over a few days around the wake, blending them with transnational logistics like border crossing and international transport. The setting emphasizes present-day norms and challenges within a wealthy, urban family.

Location

Houston, Texas, USA, Mexico City, Mexico

The story begins with Virginia's death in Houston and follows the family as Ernesto transports her coffin back to Mexico City. The wake unfolds at the family florists, a central gathering point for relatives and guests. The plot moves across borders, culminating in a private jet trip to Mexico City for the funeral rituals.

🏙️ Urban setting 🗺️ Cross-border travel

Last Updated: October 01, 2025 at 12:38

Main Characters – The House of Flowers Presents: The Funeral (2019)

Meet the key characters of The House of Flowers Presents: The Funeral (2019), with detailed profiles, motivations, and roles in the plot. Understand their emotional journeys and what they reveal about the film’s deeper themes.

Elena De La Mora (Aislinn Derbez)

Elena is the middle child who arrives in a dark leather look, hoping to anchor the gathering with a cool exterior. She juggles a string of past boyfriends and her new biker companion, trying not to disrupt the more formal guests. Her attempts to keep everyone calm reveal a protective, but anxious, side of her personality.

💃 Fashion-forward 🖤 Rebellious ⚡ Protective

Paulina De La Mora (Cecilia Suárez)

Paulina is the family’s eldest daughter and a focal point of the wake. She is overwhelmed by old school friends and their homophobic and transphobic judgments, triggering tense moments. Throughout the event she grapples with anxiety, control, and the sense that the family’s image is at stake.

👑 Leadership 🗣️ Social pressure 🫶 Guarded

María José Riquelme (Paco León)

María José is Paulina’s transgender partner and a central figure in the family dynamic. She represents a modern, open identity within the clan and challenges some of the older attitudes. Her presence adds emotional complexity to the wake and the relationships within the family.

🏳️‍🌈 Identity 🫂 Partner 🧭 Grounding

Bruno Riquelme De La Mora (Luis de La Rosa)

Bruno is the nervous, anxious son who has become increasingly intoxicated by the event. He carries the burden of being the caregiver for Virginia’s memory and also the role of a family member who is trying to prove himself. His insecurity and inebriation mirror the family’s collective distress.

🤷‍♂️ Insecure 🧸 Family role 🥃 Wavering

Julián De La Mora (Dario Yazbek Bernal)

Julián orchestrates a plan to deliver the coffin on loan and greets guests, acting as a practical mediator. He faces an identity crisis as he navigates expectations and his own impulses. His actions drive the plot forward and reveal hidden tensions among the siblings.

🎯 Planner 🌀 Identity 🗣️ Social tact

Ernesto De La Mora (Arturo Ríos)

Ernesto is the beleaguered husband trying to manage the chaos of a distant funeral and border challenges. He recruits help from friends to smuggle Virginia’s body and arranges a jet to Mexico City. His leadership is pragmatic but stressed, showing the pressure of keeping the family functioning.

🧭 Determined 💼 Pragmatic 🕊️ Grieving

Diego Olvera (Juan Pablo Medina)

Diego is the family accountant and a trusted old acquaintance who surfaces to offer condolences. His presence underscores the family’s past ties and financial underpinnings. He provides a sense of continuity amid the unfolding melodrama.

🧮 Trusted 🕯️ Reserved 🧩 Connector

Lucía Dávila (Sheryl Rubio)

Lucía is Julián’s ex-girlfriend who reappears at the wake, attempting to reconnect. Her presence stirs tension and a mix of unresolved feelings. She represents the past relationships that echo through the family’s current dynamics.

💔 Ex-lover 🌀 Disruptive 🗣️ Honest

Oliver (Hugo Catalán)

Oliver is an old friend who shows up to offer support and a business proposal. He challenges Julián’s anger and pushes for a different path, complicating the emotional landscape of the wake. His arrival adds an external perspective to the family crisis.

🧭 Supportive ✨ Catalyst 🤝 Complex

Last Updated: October 01, 2025 at 12:38

Major Themes – The House of Flowers Presents: The Funeral (2019)

Explore the central themes of The House of Flowers Presents: The Funeral (2019), from psychological, social, and emotional dimensions to philosophical messages. Understand what the film is really saying beneath the surface.

👪 Family Dynamics

Virginia's death pulls the de la Mora siblings into a tense reunion, exposing unresolved rivalries and loyalties. Each member grapples with grief while trying to maintain appearances for a room full of guests. The wake becomes a stage where affection and resentment collide, driving the family toward either reconciliation or fracture. The film uses these tensions to explore what family means when tradition clashes with personal truth.

🕯️ Grief and Mourning

Grief is treated as a collective performance as the family navigates formal rituals and improvised solutions. The pink coffin, the attempted disguise, and the chaotic logistics illuminate how people cope with loss. Characters reveal their coping mechanisms—some with humor, others with anger or withdrawal. The mourning process exposes the fragility of the family’s emotional bonds.

🏳️‍🌈 Identity and Acceptance

María José's partnership with Paulina and Bruno's personal journey intersect with family expectations and prejudice. The wake becomes a crucible where attitudes toward gender and sexuality are challenged and tested. Some characters confront their biases with awkward honesty, while others struggle to accept difference. The film treats these themes with a blend of candor and sensitivity.

🌍 Cross-border Realities

The narrative underscores life across borders, from translation hurdles at the border to arranging a private jet for an intercity move. Legal and cultural boundaries complicate the family's attempt to honor Virginia. The journey mirrors the family’s broader struggle with belonging, identity, and obligation in two countries. The cross-border setting is integral to the plot and character motivations.

🎭 Deception and Facades

To protect reputations and manage upheaval, characters resort to deception, including swapping coffins and shielding painful truths. The wake shifts from a solemn tribute to a theater of concealment and strategic maneuvering. Beneath the humor lies a reckoning with truth, guilt, and the silence families maintain to keep peace. The deceptions ultimately push characters toward vulnerable, clarifying revelations.

Last Updated: October 01, 2025 at 12:38

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A single, high-stakes event brings a large, often dysfunctional family together. The pressure of the situation causes carefully maintained facades to crack, forcing characters to grapple with their identities, relationships, and past mistakes. The narrative intertwines multiple character arcs, blending moments of genuine emotional weight with the absurd humor of logistical nightmares and social awkwardness.

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Finding humor and humanity in the messy, complicated process of mourning.If you liked the blend of humor and sorrow in The House of Flowers Presents: The Funeral, discover similar movies about grief and loss. These stories find levity in mourning, focusing on heartfelt connections and awkward moments that arise when families and friends process death together.

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