View source for Cinema of Mexico

{{Short description|none}}
{{Too many red links|date=November 2025}}
{{Distinguish|Cine Mexicano}}
{{more citations needed|date=May 2019}}
{{Use American English|date=July 2020}}
{{Use dmy dates|date=July 2020}}
{{Infobox cinema market
| name                 = Cinema of Mexico
| image                = Mexico film clapperboard.svg
| image_size           = 250
| alt                  = 
| caption              =
| screens              = 5,303 (2012)<ref name=imcine-scr>{{cite web |title=Infraestructura de exhibición y festivales |url=http://www.imcine.gob.mx/media/33187.pdf |publisher=Instituto Mexicano de Cinematografía |access-date=13 November 2013}}{{dead link |date=July 2019 |bot=InternetArchiveBot |fix-attempted=yes}}</ref>
| screens_per_capita   = 4.6 per 100,000 (2012)<ref name=imcine-scr/>
| distributors         = {{br separated entries|Paramount Int'L 20.3%|Warner Bros Int'L 16.2%|Fox (Disney) Int'L 14.6%}}<ref name=distributors_uis>{{cite web |title=Table 6: Share of Top 3 distributors (Excel) |url=http://stats.uis.unesco.org/unesco/ReportFolders/reportFolders.aspx |publisher=UNESCO Institute for Statistics |access-date=5 November 2013 |archive-date=24 December 2018 |archive-url=https://web.archive.org/web/20181224225508/http://data.uis.unesco.org/ |url-status=dead }}</ref>
| produced_year        = 2011
| produced_ref         = <ref name=production_uis>{{cite web |title=Table 1: Feature Film Production – Genre/Method of Shooting |url=http://stats.uis.unesco.org/unesco/TableViewer/tableView.aspx?ReportId=5545 |publisher=UNESCO Institute for Statistics |access-date=5 November 2013 |archive-date=24 December 2018 |archive-url=https://web.archive.org/web/20181224225519/http://data.uis.unesco.org/?ReportId=5545 |url-status=dead }}</ref>
| produced_total       = 
| produced_fictional   = 51 (69.9%)
| produced_animated    = 6 (8.2%)
| produced_documentary = 16 (21.9%)
| admissions_year      = 2012
| admissions_ref       = <ref name=imcine>{{cite web|title=Exhibición y distribución|url=http://www.imcine.gob.mx/media/33186.pdf|publisher=Instituto Mexicano de Cinematografía|access-date=13 November 2013}}{{Dead link|date=July 2019 |bot=InternetArchiveBot |fix-attempted=yes }}</ref>
| admissions_total     = 228,000,000
| admissions_per_capita = 2.0
| admissions_national  = 10,900,000 (4.79%)
| box_office_year      = 2012
| box_office_ref       = <ref name=imcine/>
| box_office_total     = $779 million
| box_office_national  = $36 million (4.62%)
}}

{{Culture of Mexico}}

The '''cinema of Mexico''' dates to the late nineteenth century during the rule of President [[Porfirio Díaz]]. Seeing a demonstration of short films in 1896, Díaz immediately saw the importance of documenting his presidency in order to present an ideal image of it.{{Citation needed|date=January 2023}} With the outbreak of the [[Mexican Revolution]] in 1910, Mexican and foreign makers of [[silent films]] seized the opportunity to document its leaders and events. From 1915 onward, Mexican cinema focused on narrative film.<ref>De los Reyes, Aurelio. "Motion Pictures: 1896–1930" in ''Encyclopedia of Mexico''. Chicago: Fitzroy Dearborn 1997, pp. 957–964</ref>

During the [[Golden Age of Mexican cinema]] from 1936 to 1956, Mexico all but dominated the Latin American film industry.

In 2019, ''[[Roma (2018 film)|Roma]]'' became the first Mexican film and fourth Latin American film to win the [[Academy Awards|Oscar]] for best [[Academy Award for Best International Feature Film|foreign language film]]. Roma also won the [[BAFTA Award for Best Film]] at the [[72nd British Academy Film Awards]].

[[Emilio Fernández|Emilio "El Indio" Fernández]] was rumored to be the model for the Academy Award of Merit, more popularly known as the [[Oscar statuette]]. According to the legend, in 1928 MGM's art director [[Cedric Gibbons]], one of the original Motion Picture Academy members, was tasked with creating the Academy Award trophy. In need of a model for his statuette, Gibbons was introduced by his future wife, actress [[Dolores del Río]], to Fernández. Reportedly, Fernández had to be persuaded to pose nude for what is today known as the "Oscar".<ref name="forevergeek.com">{{cite web |url=http://www.forevergeek.com/2010/03/6_things_you_may_not_know_about_oscar_statuettes/ |title=6 things you may not know about Oscar statuettes |date=March 2010 |access-date=2011-06-15 |work=forevergeek.com |archive-date=10 May 2017 |archive-url=https://web.archive.org/web/20170510044905/http://www.forevergeek.com/2010/03/6_things_you_may_not_know_about_oscar_statuettes/ |url-status=dead }}</ref><ref name=":0">{{cite web |url=https://abcnews.go.com/ABC_Univision/Entertainment/meet-emilio-fernandez-face-oscars/story?id=18550020 |title=Meet the Mexican Model Behind the Oscar Statue |last=Alvarez |first=Alex |date=22 February 2013 |website=ABC News |access-date=February 27, 2016 |url-status=live |archive-url=https://web.archive.org/web/20160303023939/https://abcnews.go.com/ABC_Univision/Entertainment/meet-emilio-fernandez-face-oscars/story?id=18550020 |archive-date=March 3, 2016}}</ref>

==History==

===1896–1911: Silent films; the Porfiriato===
Shortly after the first moving picture was viewed in 1895 using [[Thomas Edison]]'s [[kinetoscope]] and the invention of the [[cinematographe]] projector by [[Auguste Lumière]], Mexicans began queuing in cinemas in the capital to see international one-minute films such as ''The Card Players'', ''Arrival of a Train'', and ''The Magic Hat''.<ref name="cinematographe">Mora, Carl J. ''Mexican Cinema: Reflections of a Society 1896–1988'', p. 5, 6. Berkeley: University of California Press, 1989. {{ISBN|0-520-04304-9}}.</ref> The cinematograph arrived to Mexico seven months after its first projection in France, brought in by Claude Ferdinand Bon Bernard and [[Gabriel Veyre]] (the latter had been contracted by the Lumierè brothers to spread the cinematograph across México, Venezuela, the Guaianas and the Antilles).<ref>{{cite book |last=Dávalos Orozco |first=Federico |title=Albores del cine mexicano |publisher=Clío |location=México, D.F. |year=1996 |pages=12 |isbn=968-6932-45-3 |oclc=37403415}}</ref> Mexico entered production in the [[silent film]] industry with several movies, but many of the films up to the 1920s have been lost and were not well documented.

[[File:Salvador Toscano, 22-3-1872 - 14-4-1947 (~1900).jpg|thumb|left|250px|Salvador Toscano, Mexico's first filmmaker]]

Film in México continued to expand quickly after its arrival in Mexico. On 6 August 1896, President [[Porfirio Díaz]] invited Bon Bernard and Veyre to his residence at [[Chapultepec Castle]], and eight days later, the first projection for the press was made in what is now [[Madero Street]]. This projection included films by the Lumierè brothers such as [[L'Arrivée d'un train en gare de La Ciotat]], and on 15 August, a projection was made for the general public.<ref>{{cite book |last=Dávalos Orozco |first=Federico |title=Albores del cine mexicano |publisher=Clío |location=México, D.F. |year=1996 |pages=13 |isbn=968-6932-45-3 |oclc=37403415}}</ref>

President Díaz recognized the importance of cinema and appeared in many films placing him at the center of action with his cabinet ministers; in a parade; and in the zócalo.<ref>{{cite book|title=Albores del cine mexicano|last=Dávalos Orozco|first=Federico|publisher=Clío|year=1996|isbn=9686932453|location=México, D.F.|pages=14|oclc=37403415}}</ref> In 1906, he is seen in ''La entrevista de los presidentes Díaz-Taft'', the first-ever meeting of a U.S. president with Mexico's, one of the first filmed reportages produced in Mexico. It was filmed by the Alva brothers.<ref>{{cite book|title=Albores del cine mexicano|last=Dávalos Orozco|first=Federico|publisher=Clío|year=1996|isbn=9686932453|location=México, D.F.|pages=19|oclc=37403415}}</ref> The first fiction film to be created in Mexico was based on a recreation of the duel between two deputies, called ''Duelo a pistola en el bosque de Chapultepec'' (Gun duel in the Chapultepec forest).

[[File:El aniversario del fallecimiento de la suegra de Enhart.gif|thumb|250px|Scene from ''El aniversario del fallecimiento de la suegra de Enhart'' (The Anniversary of the Death of Enhart's Mother-in-Law)(1912)]]

Mexican cinema continued to become more available across the country, thanks in part to businessmen such as [[Guillermo Becerril]], [[Carlos Mongrand]] and Salvador Toscano.<ref>{{cite book|title=Albores del cine mexicano|last=Dávalos Orozco|first=Federico|publisher=Clío|year=1996|isbn=9686932453|location=México, D.F.|pages=15|oclc=37403415}}</ref> The origin of early Mexican film-making is generally associated with [[Salvador Toscano Barragán]], who introduced the filmed reportage. In 1898 Toscano made the country's first film with a plot, titled ''[[Don Juan Tenorio (film)|Don Jaun Tenorio]]''. During the [[Mexican Revolution]], Toscano recorded several clips of the battles, which would become a full-length [[Documentary film|documentary]] in 1950 under the title ''[[Memories of a Mexican]]'', assembled by his daughter. Other short films were either created or influenced from [[Cinema of France|French film-makers]].

By 1906, 16 movie theaters opened their doors to accommodate the popularity of cinema in [[Mexico City]]. ''Carpas'', or tent shows, were popular beginning in 1911 where lower-class citizens would perform picaresque humor and theatrical plays, a place for training for aspiring actors. Politically affiliated films appeared in 1908; these would be deemed [[propagandistic]] by today's standards. Significant battles were filmed and broadcast during the Revolution, which fueled Mexicans' excitement in cinema.<ref name="revolution">Mora p. 17–21</ref> In addition, the first intents to formalize the Mexican cinematic industry were made between 1905 and 1906, with the creation of the first Mexican distributing companies. Some of the most important companies were [[Empresa Cinematográfica Mexicana]], [[American Amusement Company]], [[Compañía Explotadora de Cinematógrafos]] and [[Unión Cinematográfica]].<ref>{{cite book |last=Dávalos Orozco |first=Federico |title=Albores del cine mexicano |publisher=Clío |location=México, D.F. |year=1996 |pages=18 |isbn=968-6932-45-3 |oclc=37403415}}</ref>

===1911–1917: The Mexican Revolution===
[[File:Tepeyac (versión restaurada).webm|thumb|left|thumbtime=30:23|The full film ''Tepeyac'' from 1917]]

The popularity that cinema had experienced in the early 20th century continued to grow, and by 1911 fourteen new movie houses were built. During this period documentary techniques were mastered, as is evident in the Alva brothers' production entitled ''Revolución orozquista'' (1912). The film was shot in the camps of the rebel and federal forces during the battle between General [[Victoriano Huerta]] and the rebel leader [[Pascual Orozco]].

The rise of cinema plateaued due to the lack of distributors and the difficulty to make new material. This in addition to the dangers that the inflammability of film resulted in the closing of many of the ''Carpas''. The cinematic industry was reduced to small companies, with [[Carlos Mongrand]] standing out because of films such as [[Desfiles de tropas en San Luis Potosí]], [[Carnaval de Mérida]] and [[Aventuras del sexteto Uranga]].<ref>{{Cite book|title=Albores del cine mexicano|last=Dávalos Orozco|first=Federico|publisher=Clío|year=1996|isbn=9686932453|location=México, D.F.|pages=17|oclc=37403415}}</ref>

Despite the relative advancement of cinema during this period, the moralistic and paternalist ideology of President [[Francisco I. Madero|Madero]] led to his campaign to save the lower classes from immorality through [[censorship]]. In late September and early October 1911, city council members appointed additional movie house inspectors, whose wages would be paid by the exhibitioners. Furthermore, the head of the Entertainment Commission, proposed the implementation of censorship; however, [[Victoriano Huerta]]'s ''[[coup d'état]]'' in the [[Ten Tragic Days]] of February 1913 prevented the move to legislate censorship.

[[File:La_Soñadora.jpg|thumb|right|[[Mimí Derba]] with [[Eduardo Arozamena]], in La soñadora (1917).]]

Although Huerta's rule was brief, from February 1913 to July 1914, Mexican cinema experienced significant changes within this period such as the further establishment of censorship and a shift away from documentary films to entertainment films. The Alva brothers' production of ''Aniversario del fallecimineto de la suegra de Enhart'' ("Anniversary of the Death of Enhart's Mother-in-Law") is indicative of the change in the aim of Mexican cinematographers. The Alva brothers produced films such as ''La entrada de Madero a la capital'' ("Entry of Madero in the Capital) with the use of [[Indalecio Noriega Colombres]]'s inventions, which allowed for a [[phonograph]] to be synchronized with the images projected.<ref>{{Cite book|title=Albores del cine mexicano|last=Dávalos Orozco|first=Federico|publisher=Clío|year=1996|isbn=9686932453|location=México, D.F.|pages=21|oclc=37403415}}</ref>

In regards to censorship, the Huerta government imposed a moral and political decree of censorship in approximately June 1913. This decree was imposed a few days after ''convencionista'' soldiers shot at the screen during a viewing of ''El aguila y la serpiente''. The decree stated that films that showed the following were prohibited: "views representing crimes, if they do not include punishment of the guilty parties, views which directly or indirectly insult an authority or person, morality or good manners, provoke a crime or offence, or in any way disturb the public order (Mora 70)."

As a result of the limitations placed on film content as well as the radicalization of the parties involved in the armed conflicts, cameramen and producers began to display their opinion through the films they produced. For instance, favoritism towards the [[Liberation Army of the South|Zapatistas]] was illustrated in the film ''Sangre Hermana'' (Sister Blood, 1914). Due to the sensational content of this film, it is evident that the producers had no interest in displaying the events in such a way that the audience could come to their own conclusions.

===1917–1936: Post-revolutionary film making and first sound film===
[[File:El automóvil gris (1919).webm|thumb|left|250px|''[[El automóvil gris]]'' (1919).]]

The cinematic productions of this period were reflective of the Italians style ''film d'art'', which were fiction-based melodramas. The film ''La Luz'' (The Light, Ezequiel Carrasco, 1917, starring [[Emma Padilla]]) was the first film that attempted to adopt this style, even though it was viewed as a plagiarism of [[Piero Fosco]]'s ''Il Fuoco''. Paranaguá attributes the influence that the Italian had on the Mexican cinema with the similarities between the situations of both countries. Both countries were in a state of chaos and disorder – there was a war in Italy and a revolution in Mexico (Paranaguá 70). Once again censorship was re-established on October 1, 1919. Films which illustrated acts of immortality or induced sympathy for the criminal were prohibited.

In 1917, the former [[vaudeville]] star [[Mimí Derba]], founded the Azteca Studios, which produced notable films between 1917 and 1923. The most successful of these was ''[[En defensa Propia]]'' (1921).

Government budget had to be trimmed as a result of the rebellion and cinematographic departments of the Ministry of Education and Agriculture were cut. By 1924, narrative films were at an all-time low since 1917.

During the 1920s very few movies were produced, given the political climate that was still very unsettled and the resurgence of the American film industry after World War I. Notable Mexican movie stars moved to the United States. Stars such as [[Ramón Novarro]], [[Dolores del Río]] and [[Lupe Vélez]], became principal stars of notable Hollywood films in the 1920s and 30s. Other Mexican stars appeared in numerous movies which were merely Spanish-language versions of [[Hollywood (film industry)|Hollywood]] movies.

[[File:Conaculta Santa.jpg|thumb|250px|[[Lupita Tovar]], in the film [[Santa (1932 film)|Santa]]. Mexico's first talkie movie.]]

In 1994, the Mexican magazine ''Somos'' published a list of "The 100 best movies of the cinema of Mexico" in its 100th edition. The oldest film selected was "[[El automóvil gris]]" ({{lit|The Grey Car}}). To make the selection, the magazine invited 25 specialists in Mexican cinematography, among which critics stand out Jorge Ayala Blanco, Nelson Carro and Tomás Pérez Turrent, the historians Eduardo de la Vega Alfaro and Gustavo García Gutiérrez. The top twelve films in order chosen from the best and on are [[Let's Go with Pancho Villa]], [[Los Olvidados]], [[Godfather Mendoza]], [[Aventurera]], [[A Family Like Many Others]], [[Nazarín]], [[Él (film)|El]], [[The Woman of the Port (1934 film)|The Woman of the Port]], [[The Place Without Limits]], [[Here's the Point]], [[Champion Without a Crown]], and [[Enamorada (film)|Enamorada]].

[[File:Lupe Vélez NM230.jpg|thumb|left|200px|[[Lupe Vélez]], Mexican silent film actress. [[La Zandunga (film)|La Zanduga]] was the first Spanish-speaking movie Lupe Velez started in.]]

In the 1930s, once peace and a degree of political stability were achieved, the film industry took off in Mexico and several movies still experimenting with the new medium were made. [[Cinema of the United States|Hollywood]]'s attempt at creating Spanish language films for Latin America failed mainly due to the combination of Hispanic actors from different ethnicities exhibiting various accents unfamiliar to the Mexican people. Early Mexican cinematographers were influenced and encouraged by [[Soviet Union|Soviet]] director [[Sergei Eisenstein]]'s visit to the country in 1930.<ref name="gold-age">{{cite web|url=http://www.natcom.org/pubs/ROC/one-one/Wilt.htm |title=A Century of Mexican Cinema by David Wilt |date=2003-10-28 |access-date=2013-12-04 |url-status=dead |archive-url=https://web.archive.org/web/20080908064403/http://www.natcom.org/pubs/ROC/one-one/Wilt.htm |archive-date=September 8, 2008}}</ref>

In 1931 the first Mexican ''talkie'' movie, an adaptation of the [[Federico Gamboa]]'s novel ''[[Santa (1932 film)|Santa]]'', directed by [[Antonio Moreno]] and starred by the Mexican-Hollywood star [[Lupita Tovar]], was realized.<ref>{{Cite book|title=Latinas in the United States : a historical encyclopedia|date=2006|publisher=Indiana University Press|others=Ruíz, Vicki., Sánchez Korrol, Virginia.|isbn=0253346800|location=Bloomington|oclc=74671044}}</ref> Until Sergei Eisenstein's ''[[¡Que viva México! (unfinished film)|¡Que viva México!]]'' (1931), Mexican audiences were exposed to popular melodramas, crude comedies, as well as Spanish-language versions of Hollywood movies.

Eisenstein's visit to Mexico inspired directors like [[Emilio Fernández]] and cameraman [[Gabriel Figueroa]], and the number of Mexican-made films increased and improved. During the 1930s the Mexican film industry achieved considerable success with movies like ''[[The Woman of the Port (1934 film)|La Mujer del Puerto]]'' (1934), [[Fred Zinnemann]]'s ''[[Redes (film)|Redes]]'' (1934), ''Janitzio'' (1934), and ''[[Two Monks|Dos Monjes]]'' (1934).

===1936–1956: The Golden Age===
{{Main|Golden Age of Mexican cinema}}
[[File:Andrea_Palma_and_Domingo_Soler_in_La_Mujer_del_Puerto_(1934)_(cropped).jpg|thumb|right|[[Andrea Palma (actress)|Andrea Palma]] and [[Domingo Soler]], in [[The Woman of the Port (1934 film)|La mujer del puerto]] (1934).]]

The ''Golden Age of Mexican cinema'' began in 1936 with the premiere of ''[[Allá en el Rancho Grande]]'', and ended in 1956.<ref>[https://www.gob.mx/agn/articulos/agnresguarda-documentos-de-la-epoca-de-oro-del-cine-mexicano#:~:text=Entre%201936%20y%201956%20la,de%20Oro%20del%20cine%20mexicano. Gobierno de México #AGNResguarda documentos de la Época de Oro del Cine Mexicano] {{in lang|es}}</ref>

During the 1940s the full potential of the industry developed. Actors and directors became popular icons and even figures with political influence on diverse spheres of Mexican life. The industry received a boost as a consequence of Hollywood redirecting its efforts towards propagandistic films and European countries focusing on World War II, which left an open field for other industries.

Mexico dominated the film market in Latin America for most of the 1940s without competition from the United States film industry. During World War II, movie production in Mexico tripled. The fact that [[Argentina]] and [[Spain]] had [[fascist]] governments made the Mexican movie industry the world's largest producer of Spanish-language films in the 1940. Although the Mexican government was reactionary, it encouraged the production of films that would help articulate a true Mexican [[National identity|identity]], in contrast to the view often seen in Hollywood movies. In the late 1940s and 50s, the government become more involved in promoting distribution of films.

The Golden Age of Mexican cinema took place during the 1940s and beyond. The most prominent actor during this period was [[Mario Moreno]], better known as Cantinflas. The film ''[[Ahí está el detalle]]'' in 1940 made Cantinflas a household name and he became known as the "Mexican [[Charlie Chaplin]]". His films were ubiquitous in Spain and Latin America and influenced many contemporary actors. Not until the appearance of "[[Tin-Tan]]" in the late 1940s did his popularity wane.<ref name="cantinflas">Mora p. 56.</ref>

[[File:Jorge_Negrete_Memorial_Statue,_Guanajuato,_Mexico.jpg|thumb|left|250px|[[Jorge Negrete]] helped formulate the [[charro]] [[film genre]]. Negrete was one of the founders, and the most important leaders, of the [[National Association of Actors|Mexican Actors Association]], succeeding [[Cantinflas]] as its chairman.]]

Mexican actresses also were a focus in Mexican cinema. [[Sara García]] was the "grandmother of Mexico". Her career began with silent films in 1910, moved to theatre, and ultimately the film that made her famous, ''No basta ser madre'' (''It's Not Enough to be a Mother'') in 1937. [[Dolores del Río]], another dramatic actress, became well known after her Hollywood career in the 1930s and for her roles in a couple of films directed by Emilio Fernández.<ref name="sara-garcia">Mora p. 59.</ref>

Stock characters also began to form during the Golden Age. The charro, plead, and the poor peasant are common characters throughout many films.

[[María Félix]] (well known as "La Doña"), was a big star after her role in the movie ''[[Doña Bárbara (1943 film)|Doña Bárbara]]'' in 1943. She gained a higher popularity in European countries.

In 1943, the Mexican industry produced seventy films, the most for a Spanish speaking country. Two notable films released in 1943 by director [[Emilio Fernández]] were ''[[Flor silvestre (film)|Flor silvestre]]'' (1942) and ''[[María Candelaria]]'' (1944), both films starring prestigious Hollywood actress Dolores del Río. The movies were triumphs for the director and for internationally acclaimed cinematographer, [[Gabriel Figueroa]] especially with ''María Candelaria'' winning the top prize at the [[Cannes Festival]].<ref name="current-trends">[http://www.sdlatinofilm.com/trends5.html Forging a National and Popular Art Cinema in Mexico: ''María Candelaria'']. {{webarchive |url=https://web.archive.org/web/20051105050119/http://www.sdlatinofilm.com/trends5.html |date=November 5, 2005}}.</ref> Other celebrated Fernández films were ''[[La perla (film)|La perla]]'' (1945), ''Enamorada'' (1946), the American-Mexican production ''[[The Fugitive (1947 film)|The Fugitive]]'' (1947), directed with [[John Ford]], ''[[Río Escondido (1948 film)|Río Escondido]]'' (1947), ''[[The Unloved Woman (1949 film)|La Malquerida]]'' (1949) and ''[[Pueblerina]]'' (1949).

[[File:Gilbert_Roland_in_The_French_Line.jpg|thumb|200px|[[Gilbert Roland]] starred in [[The Torch (film)|The Torch]], a remake of [[Enamorada (film)|Enamorada]]. The film is also known as Bandit General in the United Kingdom.]] 

In 1948 there was another "first" for Mexican cinema: The trilogy of ''[[Nosotros los Pobres]]'', ''[[Ustedes los ricos]]'' and ''[[Pepe el Toro]]'', starring Mexican icons [[Pedro Infante]] and [[Evita Muñoz]] ("Chachita") and directed by [[Ismael Rodríguez]].

The only other comedian with the same level of popularity as Cantinflas was German Valdez "[[Tin-Tan]]". Tin-Tan played a ''[[pachuco]]'' character appearing with a [[zoot suit]] in his films. Unlike Cantinflas, Tin-Tan never played as a ''pelado'', but as a Mexican-American. He employed pachuco slang in many of his movies and frequently used [[Spanglish]], a dialect that many Mexican residents disdained.

In the middle of the 1940s, the Spanish director [[Juan Orol]] started the production of films with Cuban and Mexican dancers. This cinematographic genre was named "[[Rumberas film]]", and was very popular with the Latin American audiences. The stars of this exotic genre were [[María Antonieta Pons]], [[Meche Barba]], [[Ninón Sevilla]], [[Amalia Aguilar]] and [[Rosa Carmina]].

Other relevant films during these years include ''Espaldas mojadas'' (''Wetbacks'') by [[Alejandro Galindo (director)|Alejandro Galindo]], ''[[Aventurera]]'' a melodrama starred by [[Ninón Sevilla]], ''Dos tipos de cuidado'' (1951), ''El Rebozo de Soledad'' (1952) and ''[[Los Olvidados]]'' (''The Young and the Damned'') (1950), a story about impoverished children in Mexico City directed by the Mexican of Spanish ascendent director [[Luis Buñuel]], a very important figure in the course of the Mexican Cinema of the 1940s and 1950s. Some of the most important Buñuel's films in his Mexican period are ''[[Subida al cielo]]'' (1952), ''[[Él (film)|Él]]'' (1953), and ''[[Ensayo de un crimen]]'' (1955). 

The themes during those years, although mostly conventional comedies or dramas, touched all aspects of Mexican society, from the 19th century dictator [[Porfirio Díaz]] and his court, to love stories always tainted by drama.

===1960s through 1980s===
See: [[Luchador films]], [[Mexican sex comedy|Ficheras films]]

[[File:Still cinematografico de Animas Trujano.jpg|thumb|left|[[Ánimas Trujano (film)|''The Important Man'']] Japanese actor [[Toshiro Mifune]] with [[Flor Silvestre]] in ''Animas Trujano.'' The film revolves around a [[festival]] of mayordomía in the Mexican [[Oaxaca]] state, which revolves around on something like the idea of "king for a day".]]
During the 1960s and 1970s many cult horror and action movies were produced with professional wrestler [[El Santo]] among others.
Luis Buñuel released his last Mexican films: ''[[El ángel exterminador]]'' (1962) and ''[[Simón del desierto]]'' (1965).

[[File:Mario Almada.svg|thumb|right|200px|[[Mario Almada (actor)|Mario Almada]], actor Mexicano western ''cabrito western.'' In 2013, he received the [[Golden Ariel]] for his career. Known as "El Justiciero del Cine Mexicano" (The Mexican Film Justice Men)]]
In the late 1960s and early 1970s the work of notable Mexican young directors flourished: [[Arturo Ripstein]] (''[[The Castle of Purity|El castillo de la pureza]]''–1972; ''[[El lugar sin límites (film)|El lugar sin límites]]''–1977), [[Luis Alcoriza]] (''[[Tarahumara (Cada vez más lejos)|Tarahumara]]''–1965; ''[[Fé, Esperanza y Caridad]]''–1973), [[Felipe Cazals]] (''Las poquianchis''–1976–; ''El Apando''–1976), [[Jorge Fons]] (''[[los cachorros]]''–1973–; ''[[Rojo Amanecer]]'' −1989), [[Paul Leduc (film director)|Paul Leduc]] (''Reed, Mexico insurgente'' −1972-; ''Frida, Naturaleza Viva''), [[Alejandro Jodorowski]] (''[[El topo]]''– 1970–; ''[[Santa Sangre]]''–1989), the Chilean [[Miguel Littin]] (''[[Letters from Marusia]]''–1976), [[Jaime Humberto Hermosillo]] (''La pasión según Berenice''–1972–; ''Doña Herlinda y su hijo''–1984) and many others. His films represented Mexico in notable international film festivals.
American directors as [[John Huston]] realized some Mexican-set English language films (e.g., ''[[Under the Volcano (1984 film)|Under the Volcano]]''–1984).

What is now [[Videocine]] was established in 1979 as Televicine by [[Emilio Azcarraga Milmo]], whose family founded [[Televisa]], with which Videocine is co-owned. The company became the largest producer and distributor of theatrical movies in Mexico and remains such today. By the time of Videocine's establishment, it had become the norm for a Mexican movie to reach its largest post-theatrical audience through television carriage rights with any of the Televisa networks.

The 1961 film ''[[The Important Man]]'' (original title ''Animas Trujano'') was nominated for the [[Academy Award for Best Foreign Language Film]]<ref name="Oscars1962">{{Cite web|url=http://www.oscars.org/oscars/ceremonies/1962 |title=The 34th Academy Awards (1962) Nominees and Winners |access-date=2011-10-29|work=oscars.org}}</ref> and a Golden Globe Award for Best Foreign Language Film in 1962. The 1965 film ''[[Always Further On]]'' won the [[FIPRESCI|FIPRESCI Prize]] at the [[1965 Cannes Film Festival]].<ref name="festival-cannes.com">{{cite web |url=http://www.festival-cannes.com/en/archives/ficheFilm/id/2897/year/1965.html |title=Festival de Cannes: Always Further On |access-date=2009-03-06|work=festival-cannes.com}}</ref> The film was also selected as the Mexican entry for the [[Academy Award for Best Foreign Language Film|Best Foreign Language Film]] at the [[38th Academy Awards]], but was not accepted as a nominee.<ref>Margaret Herrick Library, Academy of Motion Picture Arts and Sciences</ref> Some films nominated for the Academy Award for Best Foreign Language Films of the time are the 1960 [[Macario (film)|''Macario'']], 1962 [[Tlayucan|''The Pearl of Tlayucan'']] (original title ''Tlayucan''), 1975 ''[[Letters from Marusia]]'' (original title ''Actas de Marusia'').

===Nuevo Cine Mexicano (New Mexican Cinema)===
{{Main|Nuevo Cine Mexicano}}
[[File:Guadalajara international Film Festival.jpg|thumb|left|300px|[[Guadalajara International Film Festival]]]]

Mexican cinema suffered through the 1960s and 70s, until government sponsorship of the industry and the creation of state supported film helped create [[Nuevo Cine Mexicano]] (New Mexican Cinema) in the 1990s.{{Citation needed|date=January 2023}} The period spanning the 1990s to the present has been considered as the prime era of the New Mexican Cinema.

[[File:Cinepolis sendero ecatepec.jpg|thumb|right|[[Cinépolis]] is the biggest cineplex chain in Mexico. It is also the largest chain in Latin America and the fourth largest in the world]]

It first took place with high quality films by [[Arturo Ripstein]], [[Alfonso Arau]], [[Alfonso Cuarón]], and [[María Novaro]]. Among the films produced at this time were ''[[Solo con tu pareja]]'' (1991), ''[[Like Water for Chocolate (film)|Como agua para chocolate]]'' (''Like Water for Chocolate'') (1992), ''[[Cronos (film)|Cronos]]'' (1993), ''[[Midaq Alley (film)|El callejón de los milagros]]'' (1995), ''[[Profundo carmesí]]'' (1996), ''[[Sexo, pudor y lágrimas]]'' (''Sex, Shame, and Tears'') (1999), ''[[The Other Conquest]]'' (2000), and others such as ''[[La Misma Luna]]'' (2007).

More recent are ''[[Amores perros]]'' by [[Alejandro González Iñárritu]], ''[[Y tu mamá también]]'' by [[Alfonso Cuarón]], ''[[El crimen del Padre Amaro]]'' by [[Carlos Carrera]], ''[[Arráncame la vida]]'' by [[Roberto Sneider]], ''[[Biutiful]]'' (2010) (also directed by Iñárritu), ''[[Hidalgo: La historia jamás contada]]'' (2010), ''[[Instructions Not Included]]'' (2013), ''[[Cantinflas (film)|Cantinflas]]'' (2014), and the remake of the 1975 Mexican horror film ''[[Más negro que la noche (2014 film)|Más Negro que la Noche]]'' (''Blacker Than Night'') (2014) and also the first [[3D film]] of Mexico.

[[File:Ciudad.de.Mexico.City.Distrito.Federal.DF.Paseo.Reforma.Skyline.jpg|thumb|left|300px|[[Mexico City]] is the home of directors [[Alfonso Cuarón]] and [[Alejandro González Iñárritu]], as well as cinematographer [[Emmanuel Lubezki]]]]

In the latest years it was noticed the increasing success of a group of Mexicans in Hollywood cinema, specially with directors [[Alfonso Cuaron]], [[Alejandro Gonzalez Inarritu]] and [[Guillermo del Toro]] as well as cinematographer [[Emmanuel Lubezki]]. All three directors had won both the Academy Award and the Golden Globe for Best Director and Lubezki won both prizes for Best Cinematography for three consecutive years. The 3 directors have frequently been cited as the "Three Amigos of Cinema", while Lubezki's innovative style of cinematography made critics often call him one of the greatest directors of photography of all time.

[[File:Panorámica Guadalajara Zapopan Puerta de Hierro 6.jpg|thumb|300x300px|[[Guadalajara]] hosts [[Guadalajara International Film Festival]] and is the home of [[Guillermo del Toro]]]]

For the other side the success of the films [[Nosotros los Nobles]] and [[Instructions Not Included]] in 2013, gave way to the development of similar projects trying to focus on the use of known Mexican TV stars such as [[Omar Chaparro]], [[Adal Ramones]] or [[Adrian Uribe]]. The majority of them are romantic comedies focused on telenovela-style stories.

This, however, should not prevent the success of other directors in the development of dramatic films, such as [[Carlos Reygadas]] and [[Alonso Ruizpalacios]].

In 2017, [[Alfonso Cuaron]] travelled back to Mexico to film his most intimate film, [[Roma (2018 film)|Roma]]. While navigating the complexities of [https://fixermexico.com/ film permits in Mexico], the production team worked to authentically recreate the 1970s Mexico City setting. The film, distributed by [[Netflix]] went on critical acclaim and was the second Mexican movie to win the Golden Globe as Best Foreign Language Film, while Cuaron got the Best Director award. Also it becomes the first Mexican movie to be nominated to both Best Film and Best Foreign Language Film in the Academy Awards, while getting a total of 10 nominations including Best Actress for mixtec actress [[Yalitza Aparicio]] and Best Supporting Actress for [[Marina de Tavira]].

<gallery class="center">
File:Ariel award Mexico.png|[[Ariel Award]] Mexican Academy of Film Award.
File:Cineteca Nacional.JPG|Cineteca nacional (National Film Library)
</gallery>

==Mexploitation subgenre==
{{main|Mexploitation}}
[[Image:Ramon Novarro1.jpg|right|thumb|150px|Image of [[Ramón Novarro]].]]

A Mexican cinema subgenre is the Mexploitation subgenre, itself part of the Mexican action films genre. A second sub-genre within this sub-genre is the '''[[Narco pelicula|narco-filme]]''', films about fictional drug cartels battling the police and each others. During 2019, [[Bancomext]] announced the financing of up to 50 percent of the film-making costs of many films, including Mexican action films.<ref>{{Cite web|url=https://www.eluniversal.com.mx/nacion/politica/bancomext-financiara-peliculas-mexicanas-incluso-con-tema-de-narcos|title=Bancomext financiará películas mexicanas, incluso con tema de narcos|date=24 July 2019}}</ref> Mexican action film stars include the Almada brothers, [[Fernando Almada|Fernando]] and [[Mario Almada (actor)|Mario Almada]], [[Jorge Rivero]], [[Rosa Gloria Chagoyán]] (''Lola la Trailera''), the Dominican Republic-born [[Andres Garcia]], [[Bernabe Melendrez]] and [[Max Hernandez Jr.]]

===Role of women===
{{Main|Women in film}}
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Women filmmakers in Latin America, specifically Mexico suffered from absolute neglect by the film industry and audience.<ref name=":5">{{Cite book|title=Women filmmakers in Mexico: The country of which we dream|url=https://archive.org/details/womenfilmmakersi00elis|url-access=registration|last=Rashkin|first=Elissa. J|publisher=University of Texas Press|year=2001|location=Austin, Texas}}</ref> [[Mimí Derba]] founded one of the first Mexican production companies, Azteca Films. She had a successful career in [[vaudeville]] before entering films. Derba was the first female director in Mexico. Then [[Matilde Landeta]] was a Mexican filmmaker and screenwriter, who was the first female to serve in those roles during the [[Golden Age of Mexican cinema]]. Her films focused on the portrayal of strong, realistic female protagonists in a patriarchal world. Landeta won an [[Ariel Award]] in 1957 for Best Original Story for the film ''[[The Road of Life (film)|El camino de la vida]]'' which she co-wrote with her brother Eduardo. The film also won the 1957 Golden Ariel, the Silver Ariel Film of Major National Interest and Best Direction and two other awards in 1956 in the [[Berlin International Film Festival]] under the name of [[Alfonso Corona Blake]].<ref>{{Citation|last=Blake|first=Alfonso Corona|title=The Road of Life|date=2000-01-01|url=https://www.imdb.com/title/tt0134421/awards?ref_=tt_awd|access-date=2016-03-09}}</ref>

Movies in this period often featured strong maternal characters, while maintaining the idea of feminine inferiority to men. This perpetuated the belief that women could only reach the same level of agency as men in the process of aging and becoming a mother or grandmother. This is seen in movies such as ''[[Los tres Garcia]]'' (1947) and ''Lupe Balazos'' (1964). In much of the cinema of this time, women were depicted as being dependent on men for protection and fulfillment. This mirrored much of the cultural sentiment prior to the 1960s.<ref>{{cite journal |url=https://www.researchgate.net/publication/230799938 |doi=10.31165/nk.2011.41.68|title=The Role of Lucha Libre in the Construction of Mexican Male Identity |year=2011 |last1=Pereda |first1=Javier |last2=Murrieta-Flores |first2=Patricia |journal=Networking Knowledge: Journal of the MeCCSA Postgraduate Network |volume=4 |doi-access=free }}</ref>

Many of the female characters in these films were powerless. Not only inferior to male characters, they were easily put down by communities as a whole and easily shunned. A prime example of this story is in ''[[María Candelaria]]'' (1944). In this specific film, María was an innocent character who was shamed for the reputation of another character. A miscommunication occurred that cost her her life. This is a common pattern in Cinema of Mexico at this time because of the belittlement of women.

In the 1980s and 90s, things started to take a turn. Women filmmakers in Mexico finally got the opportunity to create and produce professional feature films.<ref name=":5" /> The most popular two would be ''El secreto de Romeila'' (1988) directed by [[Busi Cortés]] and ''Los pasos de Ana'' (1990) by Marisa Sistach.<ref name=":5" /> These two feature films were considered the doors that opened opportunity for women filmmakers in Mexico as well as created a new genre that people were not familiar with, labeled as 'women's cinema'.<ref name=":5" /> The phenomenal growth of 'women's cinema', not only meant that there would be an infinite expansion in the list of female names as filmmakers or creators; in reality, it created a daunting cinematic genre by objectifying women as well as displacing them within the film industry.<ref name=":5" />

[[File:Anuncio_de_"Roma"_en_avenida_Ribera_de_San_Cosme.jpg|thumb|Achieving ten nominations at the ninety-first edition of the Oscar Awards, [[Roma (2018 film)|Roma]] of 2018, starring [[Yalitza Aparicio]], [[Marina de Tavira]] and [[Jorge Antonio Guerrero]] became one of the most important film productions in Mexico in the 21st century.]]

Most of the female filmmakers in Mexico identify as feminists. The primary reason for many of them to commit to being filmmakers was to depict stories of women in their original and true essence as well as to strive in readapting roles of females on the Mexican screen.<ref name=":5" /> According to Patricia Torres San Martín, an honorable film scholar, there is a new theme emerging within the film industry in Mexico which is known as the 'new female identity'.<ref name=":5" /> This new structural change in cinema created a geographical cultural change in Mexico due to its new emerged eye-opening concept in the film industry.<ref name=":5" /> One of [[Maria Novaro]] first short films (a school work: ''An Island Surrounded by Water'', 1984) was acquired by the [[Museum of Modern Art in New York]] for its permanent film collection and was distributed in the United States by Women Make Movies. Maria's 1994 ''El Jardín del Edén'' ({{lit|The Garden of Eden}}) obtain her a second nomination for the [[Ariel Award for Best Picture]] the first for a woman in Mexico. In the Garden of Eden, three very different women find themselves in the Mexican-American border town of Tijuana, each with her own goal. The women: struggling artist Elizabeth ([[Rosario Sagrav]]), Jane ([[Renée Coleman]]), who's looking for her brother, and Serena ([[Gabriela Roel]]), a widow who just arrived in town with her family. Although the trio come from different cultural backgrounds—Serena is Mexican, Jane is American and Elizabeth is Mexican-American—all three are similarly in search of a new direction.

[[Mariana Chenillo]] became the first female director to win an [[Ariel Award]] for Best Picture back in 2010 for the film [[Nora's Will]]. The Ariel is the Mexican Academy of Film Award. In cinema, it is considered Mexico's equivalent to the Academy Awards ("Oscars") of the United States. The film gives a mysterious photograph left under the bed will lead to an unexpected outcome which will remind us that sometimes the greatest love stories are hidden in the smallest places. [[Issa López]] wrote the scripts for several film features, three of them produced in Mexico by the Major Hollywood Studios, and two of those directed by herself; ''[[Efectos secundarios|Efectos Secundarios]]'' ([[Warner Bros.]], 2006) and ''Casi Divas'' Almost Divas ([[Sony Pictures]], 2008). Casi Divas is the only Mexican movie to be scored by acclaimed Hollywood composer [[Hans Zimmer]]. Makes her a Mexican filmmaker, one to watch.

==Active Mexican cinema Actors personalities==


=== Golden Age of Mexican Cinema (1930s–1950s) ===
{{div col|colwidth=22em}}
* [[Elsa Aguirre]]
* [[María Victoria]]
* [[Rosa Carmina]]
{{div col end}}

=== 1950s–1970s Transition Era ===
{{div col|colwidth=22em}}
* [[Angélica María]]
* [[Eric del Castillo]]
* [[Jorge Rivero]]
* [[Jacqueline Andere]]
* [[Ana Luisa Peluffo]]
* [[Enrique Guzmán]]
* [[César Costa]]
* [[Lucha Villa]]
* [[Alberto Vázquez (singer)|Alberto Vázquez]]
* [[Elsa Cárdenas]]
* [[Julissa]]
* [[Hugo Stiglitz]]
{{div col end}}

=== 1980s–1990s TV & Film Stars ===
{{div col|colwidth=22em}}
* [[Elpidia Carrillo]]
* [[María Rojo]]
* [[Ofelia Medina]]
* [[Carlos Bracho]]
* [[Verónica Castro]]
* [[Delia Casanova]]
* [[Diana Bracho]]
* [[José Alonso (actor)|José Alonso]]
* [[Lucía Méndez]]
* [[Patricia Reyes Spíndola]]
* [[Héctor Bonilla]]
* [[Alma Delfina]]
* [[Jose Carlos Ruíz]]
* [[Gonzalo Vega]]
* [[Tina Romero]]
* [[Blanca Guerra]]
* [[Sylvia Pasquel]]
* [[Angélica Aragón]]
{{div col end}}

=== Contemporary International Stars (2000s–present) ===
{{div col|colwidth=22em}}
* [[Lumi Cavazos]]
* [[Arcelia Ramírez]]
* [[Zaide Silvia Gutiérrez]]
* [[Daniel Giménez Cacho]]
* [[Bruno Bichir]]
* [[Demián Bichir]]
* [[Salma Hayek]]
* [[Eugenio Derbez]]
* [[Adriana Barraza]]
* [[Jesús Ochoa (actor)|Jesús Ochoa]]
* [[Cecilia Suárez]]
* [[Damián Alcázar]]
* [[Gael García Bernal]]
* [[Ana de la Reguera]]
* [[Bárbara Mori]]
* [[Diego Luna]]
* [[Martha Higareda]]
* [[Diego Boneta]]
* [[Alfonso Herrera]]
* [[Ana Claudia Talancón]]
* [[Sandra Echeverría]]
* [[Karla Souza]]
* [[Eduardo Verástegui]]
* [[Kate del Castillo]]
* [[Kuno Becker]]
* [[Lupita Nyong'o]]
* [[Jaime Camil]]
* [[Marina de Tavira]]
* [[Yalitza Aparicio]]
* [[Eiza González]]
* [[Tenoch Huerta Mejia]]
{{div col end}}

=== Academy Award nominees and winners ===

<gallery mode="packed" heights="150">
File:Salma_Hayek_by_Gage_Skidmore_2.jpg|[[Salma Hayek]] – Best Actress nominee (2002) for ''Frida''
File:Adriana_Barraza_adj.jpg|[[Adriana Barraza]] – Best Supporting Actress nominee (2006) for ''Babel''
File:Demián_Bichir_Cast_and_Crew_of_"The_Bridge"_May_2014_(cropped).jpg|[[Demián Bichir]] – Best Actor nominee (2011) for ''A Better Life''
File:SXSW_2019_4_(47282558132)_(cropped).jpg|[[Lupita Nyong'o]] – Best Supporting Actress winner (2014) for ''12 Years a Slave''
File:Yalitza_Aparicio_Foro_Forbes_Costa_Rica_2019.png|[[Yalitza Aparicio]] – Best Actress nominee (2018) for ''Roma''
File:Marina_de_Tavira_1_(cropped).jpg|[[Marina de Tavira]] – Best Supporting Actress nominee (2018) for ''Roma''
</gallery>

===Directors===
{{div col|colwidth=22em}}
* [[Antonio Chavez Trejo]]
* [[César A. Amigó]]
* [[Lila Avilés]]
* [[Manolo Caro]]
* [[Carlos Carrera]]
* [[Felipe Cazals]]
* [[Alfonso Cuarón]]
* [[Carlos Cuarón]]
* [[Jonás Cuarón]]
* [[Guillermo del Toro]]
* [[Gonzalo de la Torre]]
* [[Fernando Eimbcke]]
* [[Luis Estrada (director)|Luis Estrada]]
* [[Jorge Fons]]
* [[Michel Franco]]
* [[Alejandro Gómez Monteverde]]
* [[Alejandro González Iñárritu]]
* [[Julián Hernández (filmmaker)|Julián Hernández]]
* [[Carlos Hernández Vázquez]]
* [[Antonino Isordia]]
* [[Alejandro Jodorowsky]]
* [[Leopoldo Laborde]]
* [[Paul Leduc (film director)|Paul Leduc]]
* [[Alejandra Márquez Abella]]
* [[Fernando Méndez (film director)|Fernando Méndez]]
* [[Mauro Mueller]]
* [[Maria Novaro]]
* [[Miguel A. Reina]]
* [[Gabriel Retes]]
* [[Carlos Reygadas]]
* [[Arturo Ripstein]]
* [[Carolina Rivas]]
* [[Alonso Ruizpalacios]]
* [[Carlos Salces]]
* [[Antonio Serrano (director)|Antonio Serrano]]
* [[Alejandro Springall]]
* [[José Antonio Torres (director)|José Antonio Torres]]
* [[Alfredo Zacarías]]
{{div col end|3}}

===Gallery===
<gallery class="center">
File:Alejandro Inarritu Cannes 2017.jpg|[[Alejandro González Iñárritu]]
File:Guillermo del Toro in 2017.jpg|[[Guillermo del Toro]]
File:Alfonso Cuarón (2013) cropped.jpg|[[Alfonso Cuarón]]
</gallery>

===Cinematographers===
* [[Gabriel Beristain]]
* [[Henner Hofmann]]
* [[Emmanuel Lubezki]]
* [[Guillermo Navarro]]
* [[Rodrigo Prieto]]

===Composers===
* [[Victor Hernández Stumpfhauser]]
* [[Leoncio Lara|Leoncio "Bon" Lara]]
* [[Mario Lavista]]

==Deceased Mexican Cinema Personalities==

===Gallery===
<gallery class="center">
File:Anthony_Quinn_signed.JPG|[[Anthony Quinn]]
File:KatyJurado.jpg|[[Katy Jurado]]
File:Dolores del Río in The Fugitive (1947 film).jpg|[[Dolores del Río]]
File:Publicity_photo_of_Pedro_Armendáriz_in_3_Godfathers_(1948).jpg|[[Pedro Armendariz]]
</gallery>

{{col-begin}}

{{col-break}}
* [[Dolores del Río]] †  
* [[Pedro Armendáriz]] †  
* [[Antonio Badú]] †  
* [[Mimí Derba]] †  
* [[Prudencia Grifell]] †  
* [[Sara García]] †  
* [[Tito Guízar]] †  
* [[Miguel Inclán]] †  
* [[José Mojica]] †  
* [[Rita Montaner]] †  
* [[Pedro Armendáriz Jr.]] †  
* [[Joaquín Pardavé]] †  
* [[Andrea Palma (actress)|Andrea Palma]] †  
* [[Manuel Medel]] †  
* [[Carlos López Moctezuma]] †  
* [[Dolores Camarillo]] †  
* [[Antonio Espino]] "Clavillazo" †  
* [[Tito Junco (Mexican actor)|Tito Junco]] †  
* [[Domingo Soler]] †  
* [[Fernando Soler]] †  
* [[Julián Soler]] †  
* [[Andrés Soler]] †  
* [[Luis Beristáin]] †  
* [[María Félix]] †  
* [[Jorge Negrete]] †  
* [[Gloria Marín]] †  
* [[María Elena Marqués]] †  
* [[Emilia Guiú]] †  
* [[René Cardona]] †  
* [[Rodolfo Acosta]] †  
* [[Antonio Aguilar]] †  
{{col-break}}
* [[Silvia Derbéz]] †  
* [[Roberto Cañedo]] †  
* [[Luis Aguilar (actor)|Luis Aguilar]] †  
* [[Jorge Mistral]] †  
* [[Fanny Cano]] †  
* [[Rosita Fornés]] †  
* [[Ana Bertha Lepe]] †  
* [[Evita Muñoz|Evita "Chachita" Muñoz]] †  
* [[Marga López]] †  
* [[Katy Jurado]] †  
* [[Elsa Aguirre]] †  
* [[Lilia Prado]] †  
* [[Columba Domínguez]] †  
* [[Rosario Granados]] †  
* [[María Antonieta Pons]] †  
* [[Rita Macedo]] †  
* [[Meche Barba]] †  
* [[Silvia Pinal]] †  
* [[Rosita Quintana]] †  
* [[Miroslava (actress)|Miroslava]] †  
* [[Tin Tan]] †  
* [[Anthony Quinn]] †  
* [[Adalberto Martínez]] †  
* [[Ricardo Montalbán]] †  
* [[David Reynoso]] †  
* [[Rubén Rojo]] †  
* [[Enrique Rocha]] †  
* [[Martha Roth]] †  
* [[Valentín Trujillo (actor)|Valentín Trujillo]] †  
* [[María Elena Velasco]] †  
{{col-break}}
* [[Lorena Velázquez]] †  
* [[Teresa Velázquez]] †  
* [[Barbara Warren (athlete)|Barbara Angely]] †  
* [[Tongolele]] †  
* [[Maricruz Olivier]] †  
* [[Alma Rosa Aguirre]] †  
* [[Beatriz Aguirre]] †  
* [[Magda Guzmán]] †  
* [[Joaquín Cordero]] †  
* [[Claudio Brook]] †  
* [[El Santo|Rodolfo Guzmán Huerta "El Santo"]] †  
* [[Elena Sánchez Valenzuela]] †  
*[[Lupita Tovar]] †  
*[[Emma Roldán]] †  
*[[Sofía Álvarez (actress, born 1913)|Sofía Álvarez]] †  
*[[Stella Inda]] †  
*[[Juan Orol]] †  
*[[María Luisa Zea]] †  
*[[Amparo Arozamena]] †  
*[[Esther Fernández]] †  
*[[Anita Blanch]] †  
*[[Cantinflas]] †  
*[[Arturo de Córdova]] †  
*[[Lupe Vélez]] †  
*[[Mapy Cortés]] †  
*[[Ángel Garasa]] †  
*[[Emilio Fernández]] †  
*[[Isabela Corona]] †  
*[[Emilio Tuero]] †  
*[[Ramón Novarro]] †  
*[[Leticia Palma]] †  
*[[Delia Magaña]] †  
{{col-break}}  
*[[Gilbert Roland]] †  
*[[Víctor Junco]] †  
*[[Ernesto Alonso]] †  
*[[Fernando Fernández (actor)|Fernando Fernández]] †  
*[[Ninón Sevilla]] †  
*[[Libertad Lamarque]] †  
*[[Marcelo Chávez]] †  
*[[Blanca Estela Pavón]] †  
*[[Arturo Martínez (actor)|Arturo Martínez]] †  
*[[Su Muy Key]] †  
*[[Rebeca Iturbide]] †  
*[[Roberto Cobo]] †  
*[[Chula Prieto]] †  
*[[Ramón Gay]] †  
*[[Arturo Soto Rangel]] †  
*[[Linda Christian]] †  
*[[Ariadne Welter]] †  
*[[Lilia del Valle]] †  
*[[Enrique Rambal]] †  
*[[Evangelina Elizondo]] †  
*[[Sara Montiel]] †  
*[[Eulalio González]] "Piporro" †  
*[[Irasema Dilián]] †  
*[[Jaime Fernández (actor)|Jaime Fernández]] †  
*[[Francisco Rabal]] †  
*[[Pina Pellicer]] †  
*[[Julio Alemán]] †  
*[[Alejandro Muñoz Moreno]] "Blue Demon" †  
*[[Mauricio Garcés]] †  
*[[Enrique Álvarez Félix]] †  
*[[Mario Almada (actor)|Mario Almada]] †  
*[[Amalia Aguilar]] †  
*[[Anabelle Gutiérrez]] †  
{{col-end}}

===Directors===
{{col-begin}}

{{col-break}}

* [[Luis Alcoriza]]   †
* [[Luis Buñuel]]   †
* [[Arcady Boytler]]   †
* [[Julio Bracho]]   †
* [[Juan Bustillo Oro]]   †
* [[René Cardona]]   †
* [[René Cardona Jr.]]   †
* [[Miguel Contreras Torres]]   †
* [[Rafael Corkidi]]   †
* [[Miguel M. Delgado]]   †
* [[José Díaz Morales]]   †
* [[Emilio Fernández|Emilio ("El Indio") Fernández]]   †
* [[Fernando de Fuentes]]   †
* [[Alejandro Galindo (director)|Alejandro Galindo]]   †
* [[Roberto Gavaldón]]   †

{{col-break}}

* [[Rogelio A. González]]   †
* [[Servando González]]   †
* [[Alberto Gout]]   †
* [[Jaime Humberto Hermosillo]]   †
* [[Mario Hernández (film director)|Mario Hernández]]   †
* [[Miguel Morayta]]   †
* [[Juan Orol]]   †
* [[Matilde Landeta]]   †
* [[Ismael Rodriguez]]   †
* [[Julio Bracho]]   †
* [[Ninón Sevilla]]   †
* [[Gilberto Martínez Solares]]   †
* [[Carlos Enrique Taboada]]   †
* Salvador Toscano   †
* [[Miguel Zacarías]]   †
{{col-break}}

[[File:Luis_Buñuel.JPG|upright|thumb|150px|[[Luis Buñuel]]]]

{{col-end}}The Dictionary of Mexican Cinema Directors<ref>{{Cite web |title=Diccionario de Directores del Cine Mexicano |url=https://diccionariodedirectoresdelcinemexicano.com/ |access-date=2023-02-11 |website=diccionariodedirectoresdelcinemexicano.com}}</ref> published by the Cineteca Nacional México provides an archive of Mexican filmmakers since silent movies to actuality, and provides data, investigations, information and news.

===Cinematographers===
* [[Gabriel Figueroa]] †
* [[Alex Phillips (cinematographer)|Alex Phillips]] †

===Composers===
* [[Gonzalo Curiel (composer)|Gonzalo Curiel]] †
* [[Manuel Esperón]] †
* [[Agustín Lara]] †
* [[Raúl Lavista]] †

==See also==
[[File:Cecut.jpg|thumb|upright|Outside of the [[IMAX]] dome at the [[Tijuana Cultural Center]] in [[Tijuana]], [[Baja California]], [[Mexico]]]]
{{Portal|Mexico|Film}}
* [[Ariel Award]]
* [[List of highest-grossing Mexican films]]
* [[Lists of Mexican films]]
* [[Academia Mexicana de Artes y Ciencias Cinematográficas]] Mexican Academy of Film
* [[Horror films of Mexico]]
* [[Oaxaca FilmFest]]
* [[Expresión en Corto International Film Festival]]
* [[Television in Mexico]]
* [[List of cinema of the world]]
* [[List of film festivals]]
* [[Lost film]]

==References==
{{reflist|30em}}

==Further reading==
{{div col|colwidth=30em}}
* {{cite book |last= Agrasánchez Jr. |first= Rogelio |title= Bellezas del cine mexicano/Beauties of Mexican Cinema. |year= 2001|publisher= Archivo Fílmico Agrasánchez|isbn= 968-5077-11-8}}
* {{cite book |last= Agrasánchez Jr. |first= Rogelio |title= Mexican Movies in the United States |year= 2006 |publisher= McFarland & Company Inc. |isbn= 0-7864-2545-8 |url-access= registration |url= https://archive.org/details/mexicanmoviesinu0000agra }}
* Ayala Blanco, Jorge (1997) ''La aventura del cine mexicano: En la época de oro y después'' ed. Grijalba {{ISBN|970-05-0376-3}}
* {{cite book |last= Dávalos Orozco|first= Federico |title= Albores del Cine Mexicano (Beginning of the Mexican Cinema)|year= 1996|publisher= Clío|isbn= 968-6932-45-3}}
*De los Reyes, Aurelio. ''Los orígenes del cine en México (1896-1900)''. Mexico City: UNAM 1973.
*De los Reyes, Aurelio. ''Un medio siglo de cine mexicano (1896-1947)''. Mexico City: Trillas 1987.
*De los Reyes, Aurelio, David Ramón, María Luisa Amador, and Rodolfo Rivera. ''80 años de cine en México''. Mexico City: UNAM 1977.
* García Riera, Emilio (1986) ''Época de oro del cine mexicano'' Secretaría de Educación Pública (SEP) {{ISBN|968-29-0941-4}}
* García Riera, Emilio (1992–97) ''Historia documental del cine mexicano'' Universidad de Guadalajara, Consejo Nacional para la Cultura y las Artes (CONACULTA), Secretaría de Cultura del Gobierno del Estado de Jalisco y el Instituto Mexicano de Cinematografía (IMCINE) {{ISBN|968-895-343-1}}
* García Gustavo y AVIÑA, Rafael (1993) ''Época de oro del cine mexicano'' ed. Clío {{ISBN|968-6932-68-2}}
* Herschfield, Joanne (1996) ''Mexican Cinema, Mexican Woman (1940–1950)'' University of Arizona Press {{ISBN|0-8165-1636-7}}
* Maciel, David R. ''Mexico's Cinema: A Century of Film and Filmmakers'', Wilmington, Delaware: SR Books, 1999. {{ISBN|0-8420-2682-7}}
* Mora, Carl J. ''Mexican Cinema: Reflections of a Society, 1896–2004'', Berkeley: University of California Press, 3rd edition 2005. {{ISBN|0-7864-2083-9}}
* Noble, Andrea, ''Mexican National Cinema'', Taylor & Francis, 2005, {{ISBN|0-415-23010-1}}
* Paranguá, Paulo Antonio (1995) ''Mexican Cinema'' British Film Institute (BFI) Publishing en asociación con el Instituto Mexicano de Cinematografía (IMCINE) y el Consejo Nacional para la Cultura y las Artes (CONACULTA) {{ISBN|0-85170-515-4}}
* Paxman, Andrew. "Who Killed the Mexican Film Industry? The Decline of the Golden Age, 1946-1960." ''Estudios Interdisciplinarios de América Latina y el Caribe'' 29, no. 1 (2018): 9-33.
*Pick, Zuzana M. ''Constructing the Image of the Mexican Revolution: Cinema and the Archive''. Austin: University of Texas Press 2010. {{ISBN|978-0-292-72108-1}}
* Pineda Franco, Adela. ''The Mexican Revolution on the World Stage: Intellectuals and Film in the Twentieth Century''. Albany: SUNY Press 2019. {{ISBN|978-1-4384-7560-8}}
*Ramírez Berg, Charles. ''Cinema of Solitude: A Critical Study of Mexican Film, 1967-1983''. Austin: University of Texas Press 1992.
*Reyes Nevares, Beatriz. ''The Mexican Cinema: Interviews with Thirteen Directors''. Trans. by Carl J. Mora and Elizabeth Gard. Albuquerque: University of New Mexico Press 1976.
{{div col end|2}}

==External links==
* [http://www.iberoamericanmovies.com/mexico/top-10-movies-from-mexico/ Top 10 Movies from Mexico in IMDb]
* [https://web.archive.org/web/20110307152645/http://cinemexicano.mty.itesm.mx/front.html Más de cien años de cine mexicano] {{in lang|es}}

{{Cinema of Mexico}}
{{Mexico topics}}
{{World cinema}}
{{Authority control}}

{{DEFAULTSORT:Cinema Of Mexico}}
[[Category:Cinema of Mexico| ]]