Yolanda Montes 'Tongolele'

Due to confusion, Rafael is believed responsible for the death of Teresa. His wife Lilia and his brother looking for the real culprits.

Germán Cipriano Gómez Valdés Castillo, a young radio announcer from Cuidad Juárez, succeeds in drawing attention to the pachuco movement through his character Tin Tan, laying the groundwork for a new form of binational and mass linguistic expression: Spanglish. He soon became a leading figure in theater and film on the American Continent. Singled out by critics as a destroyer of the language, he quickly won the approval of the public. His ability to improvise revolutionized the film industry. His talent as an actor, singer, dancer and comedian contributed to the Golden Age of Mexican Cinema. From El Hijo Desobediente to Capitán Mantarraya, from Cuidad Juárez to Havana, from mambo to rock, the legacy of Tin Tan makes him one of the great icons of Mexico today. This film tells his story as it has never been told before.

Murder mystery set in a night-club; who killed the star performer?

Tin Tan falls in love with a young woman who does not love him, but when he wins the lottery she changes her mind.

Authorities close down a restaurant after a violent crime is committed on the premises; the employees look for new jobs and try to track down the murderer.

Slapstick/musical comedy parody of historical dramas, send-up of "Locura de amor," about Queen Juana 'la loca' of Spain.

Between-engagements troupers at a theatrical boarding-house con a rich acquaintance into financing a show.

"Ni Muy Muy, Ni Tan Tan, Sim­ple­men­te, Tin Tan. Tin Tan was one of the grea­test com­de­dian-​ac­tors in the his­tory of Me­xi­can Ci­ne­ma. He be­gan his film ca­reer du­ring the early years of what be­ca­me the Gol­den Age of Me­xi­can Ci­ne­ma. Th­roughout the ma­jo­rity of his mo­vies he plays the cha­rac­ter of a pa­chu­co; the Chi­cano/Me­xi­cano in zoot suit, th­ro­wing out the ti­ri­li ph­ra­ses and words, and jam­min the jitty-​bug. With the sty­le and the slang down to a tee, he was pi­cked up in Cd. Jua­rez Chihuahua by an ac­ting trou­pe. Tou­ring ex­ten­si­vely th­rough-​out Me­xi­co with the trou­pe lan­ded him in Me­xi­co City with film con­tracts. It was in tho­se films that Tin Tan ex­po­sed the ima­ge of the pa­chu­co, which Me­xi­can Youth adop­ted. From the de­sert bor­der-​towns of Jua­rez y El Pa­so the sty­le took off in va­rious parts of the coun­try, most no­ta­bly in Me­xi­co City

The Panther women are worshipers of Satan and perform rituals in their honor and sacrifice. The fighters will face them up and down the ring.

Dr. Castellanos is saved from bankruptcy.

A poor man becomes a modern Robin Hood, robbing the rich to give to the poor.

Venice Film Festival 1948

The inhabitants of a small, remote island have been practicing voodoo rites and worshipping an evil priest named Damballah for years, but the local law officials generally turn a blind eye to this death cult's bizarre activities. Captain Labesch arrives from the mainland, determined to crack down on the island's lawlessness and clean up the ineffectual, hard-drinking police force. He appeals for assistance from wealthy plantation tycoon Carl Van Molder, who owns nearly half of the island and wields a great deal of influence over the population. Van Molder has made the study of parapsychology his life's work and believes in the secret powers of the mind. He warns Labesch not to interfere with this forgotten island's ancient ways. Also visiting is Van Molder's niece, Annabella, a temperance crusader who wants her uncle to help fund the International Anti-Saloon League. She falls in love with handsome police lieutenant Andrew Wilhelm

Police detective and his plucky girl-reporter fiancée go after the gang that committed a train robbery.

Producer, director and projectionist watch an assortment of musical numbers and brainstorm about framing narrative that could contain them all.

Mexico’s half-forgotten B-movie master, “involuntary surrealist” Juan Orol (1897–1988), receives a pitch-perfect tribute in this deft, irresistible love letter to a self-made man of showbiz whose career spanned half a century and nearly 60 films. Abetted by an all-pro cast, del Amo’s brilliant interpretation of Orol’s life exudes a droll underdog charm, and almost every frame is an infectious homage to the golden age of cinema, the wiles of memory, and the art of fantasy.

Lurid crime drama about drug traffic.

Las fabulosas del Reventón

Mexican feature film

El mensaje de la muerte

Mondo style documentary about European nightlife.

Las Lunas del Auditorio