Emilio "El Indio" Fernández was rumored to be the model for the Academy Award of Merit, more popularly known as the Oscar statuette.

In need of a model for his statuette, Gibbons was introduced by his future wife, actress Dolores del Río, to Fernández.

[6][7] 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.

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.

[10] 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.

Mexican cinema continued to become more available across the country, thanks in part to businessmen such as Guillermo Becerril, Carlos Mongrand and Salvador Toscano.

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.

[16] Despite the relative advancement of cinema during this period, the moralistic and paternalist ideology of President 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.

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, El, The Woman of the Port, The Place Without Limits, Here's the Point, Champion Without a Crown, and Enamorada.

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.

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 La Mujer del Puerto (1934), Fred Zinnemann's Redes (1934), Janitzio (1934), and Dos Monjes (1934).

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.

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.

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.

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, 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.

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.

Among the films produced at this time were Solo con tu pareja (1991), Como agua para chocolate (Like Water for Chocolate) (1992), Cronos (1993), 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).

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.

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.

[27] Mexican action film stars include the Almada brothers, Fernando and Mario Almada, Jorge Rivero, Rosa Gloria Chagoyán (Lola la Trailera), the Dominican Republic-born Andres Garcia, Bernabe Melendrez and Max Hernandez Jr. Women filmmakers in Latin America, specifically Mexico suffered from absolute neglect by the film industry and audience.

Landeta won an Ariel Award in 1957 for Best Original Story for the film El camino de la vida which she co-wrote with her brother Eduardo.

[28] 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'.

[28] 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.

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.

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.

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.