Luis Alcoriza is best known for his script collaborations with fellow Spaniard Luis Bunuel, having worked on some of Bunuel's more intriguing Mexican films. But in his later life, Alcoriza emerged as one of the leading scenarists of modern Mexican cinema. After 1962 he scripted a number of important films (most of which he directed himself), which are his own peculiar blend of raucous entertainment and pointed social criticism. His unit of analysis is the group which, especially in his post-Bunuel period, he uses to symbolize Mexican society. This is a motif that is discernible in his Bunuel films as early as Los olvidados (the gang of street kids in Mexico City). Similarly, there are the bourgeois guests in El ángel exterminador, mysteriously trapped in their host's drawing-room, the disparate band of refugees lost in the jungle in La Mort en ce jardin, and the political prisoners, bureaucrats, politicians, and hangers-on in the fictional South American dictatorship of La Fièvre monte à El Pao.
But whereas Bunuel's aims were existential, surrealist, and absurdist, Alcoriza's were satirical. Bunuel's films were bleak, detached commentaries on the human animal as he observed it, their undeniably dark side due to the fact that Bunuel's vision did not encompass redemption. Alcoriza's view was more hopeful. His scripts poke fun at human nature (particularly as it expresses itself in the Mexican national character), but like all true satirists, he criticizes in the hope of improving humanity. In Alcoriza's cinematic universe redemption is a goal worth striving for—is the only goal worth striving for. Asked why he chose to write and direct Tarahumara, his semidocumentary film about an isolated Mexican Indian tribe scratching out its meager existence in a remote region of Chihuahua, Alcoriza said: "I am not in agreement with the world in which I have to live, because I do not like our society. Today we try to reach other worlds, the moon, Mars . . . and the most elementary problems—hunger, justice, [human] dignity—have yet to be resolved." But Alcoriza believed this situation could be changed. Accordingly, his body of work reflects healthy indignation rather than Bunuel's typically distressing resignation.
Two of his more illustrious scripts (both for films he directed) are Presagio, coscripted by Gabriel García Márquez, about a village whose inhabitants come to believe that they are living under an evil spell, and Mecánica nacional, the story of a group of automobile racing fans, on their way to see the conclusion of an Acapulco-to-Mexico City auto race, who are thrown together for a day and a long night due to a traffic jam. In these and other Alcoriza films (Tlayucan, Tiburoneros, El oficio más antiguo, Las fuerza vivas) he fills an expansive canvas with a large cast of characters and succeeds in creating a Rabelaisian cross-section of Mexican society.

家族荣誉、贪婪、男权主义、恐同和妓女的梦想在一个墨西哥小镇上发生了碰撞。富有的老人Don Alejo准备以利润出售该镇，只需要购买一个妓院来拥有所有建筑物并完成交易。这个妓院由一个男人和他的女儿拥有：Manuelita是一个年老、害怕的同性恋者；他穿女装并以弗拉门戈舞者的身份娱乐；他想要卖掉并离开。他的女儿想留下来。Pancho的回归使事情变得复杂：他是一个易怒的人，Alejo试图控制他，并且他在去年吓到了Manuelita。事情变得紧张，因为Pancho打破了Alejo对他的控制，然后与Manuelita调情和跳舞，发现自己有可能被称为“maricón”。

40-60年代墨西哥电影黄金时期的最后佳作之一，影片讲述最具墨西哥传统民族特色的娱乐活动 - 斗鸡的故事。几乎囊括了当时墨西哥一些最伟大的演员、剧作家和导演等，由Juan Rulfo的小说改编，当时还没出名的马尔克斯也参与了编剧。主演是墨西哥著名女星Lucha Villa。
A poor, but very lucky man in the cock fighting, is hired by a rich man, but both are in love with the same woman. Cockfights are an important aspect of Mexican tradition as illustrated in this story of two competitors who gamble everything on a big cockfight. After nursing an injured sparring rooster back to health, a poor man enters the bird in a cockfighting competition. Suddenly finding himself the owner of a champion cockerel, the man becomes seduced by wealth and fame. After falling for the sultry girlfriend of his gambler partner, his life is irrevocably changed. This recently remastered melodrama, based on a novel by Juan Rulfo with a screenplay by Gabriel Garcia Marquez and Carlos Fuentes, is a classic of Mexican cinema.
This is maybe the last great Mexican Golden Age cinema movie. It was directed by Roberto Gavaldon, one of the most important and creative directors from this country, and the cast allows several excellent actors from that time like Ignacio Lopez Tarso, Lucha Villa and Narciso Busquets; the screenplay was writen by Carlos Fuentes, Gabriel Garcia Marquez ( world size authors ) and the director Roberto Gavaldon who adapted it based on a text from the same name wroten by Juan Rulfo. All this clues takes us to the conclusion that this is a very representative movie of the mexican culture, but it only reflects a part of the ancient life of common people in the mexican towns, focus the atention in the gambling like cards games, cock fights and the palenques; The photograph of this movie take us to the mexican views, outside the big cities, on the fields where you can smell the clean air.
Few years later another movie of the same history was taken to the screen by another mexican director: Arturo ripstein, and the name was "El imperio de la fortuna" it doesnt looks like this one,that version is sader and more negative in the message, in my poor opinion, the original text by Juan Rulfo deserves to be changed and this movie really catches the spirit of that culture, so spiritual, so magic, so faithfull just doing that changes from the way rulfo concived it first.
The history spokes about two man, the poor Dionisio Pinzon and the gambling man , Lorenzo Benavides. They both fall in love with a palenque singer, La Caponera, and they really think she brings them good look in all theirs bussines. Finally they became partners and install a gambling house, but neither la caponera and Dionisio stand that "jail" and decide to leave, till a last cock fight where they face under la caponera sihgt just to prove who`s the luckiest man.

A mechanic takes his family to a car race and a series of events occur which brings problems, betrayals, violence and the unexpected death of an elderly person.

A manipulative mama deftly manages the life of her homosexual son so that he can have his cake and eat it too. A woman of means, she does this by allowing her son, a doctor, to tryst in her home with his lover. Putting her son's happiness above all else, she then arranges a marriage of convenience to a woman.