Mexican LGBT+ cinema

In 2001, with the success of Y Tu Mamá También, Mexico propelled Latin America into a period of increased LGBT+ film production unified as New Maricón Cinema.

[1] Schuessler notes the films of Arturo Ripstein and Jaime Humberto Hermosillo, calling them a "transition point" before the works of Julián Hernández that comprise a lot of Mexican gay cinema in the 21st century.

The popularity and success across the Spanish and English speaking worlds became a trigger moment in Latin American LGBT+ cinema, with more LGBT+ themes appearing in the mainstream.

This prompted its producers the Cuarón brothers to expose the RTC ratings board, which led to the system being separated from government control.

This film is also noted for instructionally introducing the English term "gay" as a modern and politically correct term to replace the extensive lexicon of gay slurs pertaining only to Mexico, and featuring exaggerated stereotypes of typical Mexican characters in Gabino and Doña Chuy trying to reinforce ideals of machismo, homophobia, and national identity all mixed together to Hendrix.

[9]:188-190 Christina Elaine Baker's doctoral thesis looks at Mexican cabaret and different forms of drag as being expressions of queerness outside of the mainstream represented by film.