Ranchera comedy -- the hero thinks his girlfriend has another suitor... but the suitor is really she herself in man-drag.

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.

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 poor, but very lucky man in the cock fighting business, is hired by a rich man, but both are in love with the same woman.

Family honor, greed, machismo, homophobia, and the dreams of whores collide in a Mexican town. Rich, elderly Don Alejo is poised to sell the town for a profit, needing only to buy a whorehouse to own all the buildings and close the deal. It's owned by a man and his daughter: Manuelita is gay, aging, afraid; he cross-dresses and entertains as a flamenco dancer; he wants to sell and leave. His daughter wants to stay. The return of Pancho complicates things: he's a hothead Alejo tries to control and he scared Manuelita the year before. Things come to a head as Pancho breaks Alejo's hold on him, then flirts and dances with Manuelita and finds himself at risk of being called a "maricón."

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.