¡Fíjate qué suave! (1948)

This film tells several short stories that end up lapsing in the emergency room of a hospital, because it is dedicated to nurses. Cantinflas appears at the end of the film playing the role of Luis, a man who has five daughters and looks forward to a boy, but fate plays a trick and the child dies at birth, but history gives a nice twist and a message of hope.

No te engañes corazón (released in English as Don't Fool Yourself Dear) is the first full-feature film of Cantinflas after becoming a star of the carpa circuit (folk theater). It was also one of the earliest films of Sara García and Carlos Orellana and the first where they share the screen. Don Boni (Orellana) is diagnosed with a deadly disease and decides to spend his last days doing good deeds. He leaves his wife and decides to help people. He then gets drunk and wakes up with a winning lottery ticket and realizes that the doctor who diagnosed him has been sent to prison for fraud.

A story about the desperation of a man leading a monotonous life. Interacting with people turns out to be impossible, and his routine has alienated his loved ones, among them, his 11-year-old son.

Over more than thirty years, a department of the Condesa in Mexico City, is the setting in which they are carried out ten stories, mixed, form one whose only constant is the rupture. The passage of time and the outside world only guess through the windows and objects that come with the characters. The set is a great solitude, possible in a city of the blind.

The film features Fernandez himself as a character named Rogellio Torres. The lion's share of the footage, however, is devoted to the romance between Esperanza, granddaughter of a common laborer, and Jose Luis Castro, the firebrand son of a landowner. Joining a revolutionary movements, Castro is disowned by his father, but Esperanza remains loyally by his side. Later on, Castro's father is killed by outlaws; in seeking vengeance, he sacrifices his own life, while Esperanza carries on his revolutionary work with their young son in tow.

Two shades of paint are pitted against each other in a bullfight that spills self-reflexively from the page into the animator’s studio

The movie starts with Braulio Peláez (Pedro Infante), a schoolteacher, having just fallen off his horse, representing the situation he and his family are in. The next scenes introduce the viewer to his family and their poor financial and social situation. As Braulio stumbles around looking for his glasses, he causes a famous film star, Alfonso de Madrazo (Rafael Alcaide) to crash his car. Braulio offers him to eat at his house as an apology. Braulio's sister and mother, big film fans, immediately recognise Alfonso and attempt to get him to bring the girl, Luisa Peláez (Irma Dolores) to Mexico City to become a film star. Alfonso agrees and tells them to come to the capital.

Mexico City, 1960. Aurelia lives happily with her family. Just before the birth of her third daughter, her husband dies in an accident. Years later, Leonor, the oldest daughter, has quit her studies to help her mother support the household. Beatriz, immersed in her music, lets life slip her by like a strange melody. Adolescent Nadia has only one interest in life: to seek new experiences. Aurelia starts to lose her sensibility to pain, and the family relationships become so alienated that they begin to disintegrate like the house they live in.

Berenice is a young woman with traditional customs who lives with her godmother in a quiet provincial town. The appearance of Rodrigo in his life will cause him a profound and unusual transformation. The calm without major shocks in Aguascalientes turns out to be just a disguise, an illusory cover-up of what will really happen.

A nightclub performer decides to raise the baby boy she found abandoned in a trash can, putting her job and social life in jeopardy.

When Professor Marsh disappears while searching for the lost city of Lukachukai, his daughter enlists the help of the Three Mesquiteers.

La cama is a story that gives a voice to reveal the secrets held by beds. If your bed could speak, what stories would it tell? We spend more than a third of our life in bed; it is the uttermost intimate space. In them lay our secrets; perhaps that is why we never think about them. They are a direct witness of who we are, or who we wish to be. Who would give their bed a voice? Surely nobody in his or her right mind. What secrets are held by motel beds, that of a teenager, a newly divorcée, that of your neighbors?

Three married couples gather to celebrate the eighteenth anniversary of their marriage mourning the absence of a friend who was best man at all three weddings.

A couple of provincial gas station employees travel to the capital seeking fortune of vehicle mechanics accidental career passing drivers.

The Mexican Revolution serves as a backdrop to a torrid love triangle composed of three freedom fighters: a colonel, a widow, and a fiery female soldier.

Follows the Cuban leader into the home of a 93 year old acquaintance of Jose Marti, who is now blind and who takes the duration of the film to realize who his illustrious interviewer actually is.

The disaffected wife of a failed civil servant, is thrilled to re-encounter Octavio, a former lover who is now a union activist on the run from a corrupt politician. Hoping to help him, she descends into the Mexican underworld, where she finds a purpose-and a thrill-missing from her married life.

The Boxer Germán Bronco Torres loses his license, and works as bouncer at the cabaret El Pirulí, where he falls for the fichera Carmen, and befriends of the pimp Margarito Fuensanta El Vaselinas, who lost a bet and has to pay to a gangsters. For 500 pesos for El Vaselinas, Bronco prepares a trap in the cabaret to the taxi driver Raul, to seduce his girlfriend, not knowing that the victim is his own sister Lupita.

Law officer tracks and recaptures escaped convict.