Los adioses

In the midst of the Mexican Revolution, the landowner Mendoza manages to get along with both the government and the revolutionary group. For the former, he is a supporter of Huerta. For the latter, he is a Zapata supporter. Depending on the political preference of whoever visits him at his hacienda, he has portraits of Huerta or Zapata put up, and organizes a party in honor of his visitors. However, time goes by and the situation becomes untenable. For whom will he take sides?

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.

The third and final chapter of director Ismael Rodríguez's series about Pancho Villa. Several stories about the life and death of the famous mexican revolutionary general.

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.

In Mexican Revolution times, a guerrilla general and his troops take the conservative town of Cholula, near by Mexico City. As the revolutionaries mistreat the town's riches, General Reyes falls for beautiful and wild Beatriz Peñafiel, the daughter of one of the town's richest men.

A farmer is in love during revolutionary times.

Military leader is appointed to local government, becomes overly despotic in his leadership.

A woman who is about to die calls the town's priest and hands him a scapulary, saying that she knows of its great powers. Anybody who does not believe in them will end up dead.

Rafael faces the complications of the revolution and discovers true love with Luisa.

When his mother Dolores dies, Juan Preciado, son of Pedro Páramo, goes to Comala to claim his inheritance; but when he arrives he finds an abandoned and sinister place, inhabited by mysterious voices and whispers…

This fictionalized portrayal of Emiliano Zapata as an Indigenous Mexican shaman, directed by Alfonso Arau, was reportedly the most expensive Mexican movie ever produced, with a massive ad campaign, and the largest ever opening in the nation's history. Unusual in the Mexican film industry, Zapata was financed independently.