A series of images, music and sounds which transport through Mexico's history, without any narrative sequence. The film spins constantly round the question 'Where are the singers from?'

Two families gather at a cemetery to honor their departed.

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 guerrilla commando tries to kidnap a politician. In the attempt, several policemen and a guerrillero die. By chance the head of the kidnappers meets an old colleague; to prevent him from betraying them, he kidnaps him.

Lola finds herself into the world of violence and drug trafficking when her father is murdered for refusing to put his truck to the service of a powerful cartel, with protections at high police levels. Knowing the local officials will not serve out justice, she takes matters into her own hands. Armed with a machine gun, she'll attempt to get revenge by her own hands - but the enemy has more firepower than her.

俄国电影之父，世界电影的先躯——谢尔盖·爱森斯坦(Sergei M. Eisenstein)拍摄的关于墨西哥的历史与文化全面研究的记录片。

这部1934年拍摄的纪录电影，却直到爱森斯坦死后40多年（1979年）才由他的助手完成。
爱森斯坦和许多左翼分子一样，对墨西哥印象深刻，因为该国在20世纪初期就完成了社会主义革命。艾森斯坦和亚历山卓夫把《墨西哥万岁！》设计成一系列的作品，各描述不同的地区和历史阶段，虽然这个系列作品的次序似乎经常变换，但每出戏都是墨国某一时期在某个地区的生活，同时，每一集都献给一位不同的墨西哥艺术家，从波沙达（Posada）到欧洛兹柯（Orozco）。艾森斯坦爱上了墨西哥，他把精力全数投入拍摄“一首爱、死亡与不朽的诗篇"。
影片评价
《墨西哥万岁》，是一部未完成的伟大纪念碑，今天我们所看到的只是某些已经被歪曲的或拼凑起来的片断。但即使从这些残余的片断里，我们也可以看出这部影片应该是爱森斯坦在美学上登峰造极的一部作品。动人心弦的人物脸谱和基赛的完美的摄影技巧，具有电影上很少见到的一种抒情情调。片中对造型的注意似乎超过了《战舰波将金号》中的那种“纪录主义”。显然这部被割裂的杰作曾广泛运用了隐喻的手法。庄严而古老的纪念碑以及民间的风俗和服装，在这部影片里占着相当大的位置。但只靠我们所看到的一些画面，还很难对整个影片作出正确的评语。

Set in the early 1900s, this film charts the rule of a Latin American dictator as he moves from being a charming despot to a tyrannical ruler before he is finally ousted, only to die in obscurity in Paris. Early in his regime, the resources and agricultural products his country sells command high prices, and he is a reasonably confident, even gentle, ruler who likes to take long vacations with his daughter in Paris. After World War I, with falling prices and a number of coup attempts behind him, his rule becomes quite cruel.

Analytical view of one of the least reported conflicts of national cinema: the Cristero movement that developed in the regions of western Mexico between 1926 and 1929, highlighting the inability to be faithful to both the Church and the State.

While trying to save the famous Tivoli burlesque theater, the participants uncover a web of commercial corruption.

一部墨西哥恐怖片，讲述了一位名叫玛丽的美国画家，她住在墨西哥，在那里她卖自己的作品，还为了鲜血杀人。事实证明玛丽是吸血鬼，但不是传统的长着獠牙的吸血鬼。由于她没有毒牙，她必须刺伤或割断受害者的喉咙，但很快，她的生活中有了一个新男人，还有一个神秘的黑衣人，他似乎也在做同样的谋杀案。

A politically-themed stage play provokes a murder. Police detective walks the cast through a reenactment of their performance as a way of investigating the crime.

A rumor reaches a small town, San Garabato, that a government infiltrator will arrive to check the conditions of the community. Quickly, the municipal president, Don Perpetuo del Rosal, orders the imprisonment of those who might give a bad image. An indigenous man named Calzonzin arrives in town, pursued by two men. He is quickly taken as the infiltrated inspector, and protected by all the local authorities.

“The inmates of an insane asylum take over the institution, imprison the doctors and staff, and then put into play their own ideas of how the place should be run.”

影片以宽银幕拍摄，视野比较开阔。导演没有用太多的篇幅表现开幕式，只是简单地纪录了点燃火炬的仪式。之后，影片即开始表现各种赛事。一开始是男子4X100米接力，接着是男子标枪、女子标枪，男子100米跨栏等。声音方面，现场音响加单一的男声解说。.影片较长，原版长度为240分钟（美国发行长度为120分钟）。

A woman travels to her past life with the help of Santo's past life regression machine

在Jodorowsky的所有我们能看到的电影里——除过之后的《獠牙》跟《彩虹贼》，这部他早期长篇电影《凡多和莉丝》相比起他大名鼎鼎的《鼹鼠》，《圣山》和《圣血》显得十分不起眼。

不过这部影片维持了Jodorowsky影片一贯的光怪陆离，开始的镜头就是侧躺在桌子上的莉丝生吃掉一朵花，整个故事是一对情侣凡多和他腿有残疾的女朋友莉丝一起去寻找传说中神秘的“Tar之城“一路上的经历，途中不断的有不同的怪人诱惑凡多离开双腿不能动的莉丝，甚至还有凡多的母亲，而他们却好象一直都无法离开原来的地方——酷似煤矿的小山，途中还时常出现他们的幻象（时间太久，记不清楚具体的，大家自己看），在找到了Tar之后，凡多却终于忍受不了莉丝，将她暴打致死，后来他十分懊悔，按照莉丝生前的愿望将她埋葬，在坟头上放上了一朵花，并自己躺在她坟墓旁，直到落下的树叶几乎将他埋没，至此，影片在异常欢快的音乐中结束。

不过也许是由于对宗教的生僻和文化背景的不同，据说这部影片在墨西哥阿卡普尔科电影节首映的时候观众被吓的四散而走，是因为受不了影片中残忍的镜头，不过看了这部影片我居然莫名其妙的感伤起来，我都不知道我该去想些什么，而Jodorowsky也由此开始他被放逐到海外拍片的生涯，不过之后才有了更经典的《鼹鼠》，《圣山》和《圣血》，也更富有反宗教的意味，相比起《凡多和莉丝》更加被观众认同。

可能此片仅仅是他古怪念头的最初尝试，虽然情节很古怪，可倒也不至于不知所云，凡多和莉丝他俩寻找的这座“Tar之城”是个异常奇妙的地方，所有的城池在大灾难降临后都被毁了，只有Tar还矗立着，所以人们传说只要到了Tar，就可以获得食物跟美酒，甚至可以获得永恒；到了Tar，才可以真正理解生命，可以爱也可以被爱，会着迷于未来，而且，Tar永远不会遗弃任何一个人…如此完美的地方，可以看成是个严重理想化的境地，接近理想国的过程自然有荆棘和劫难，更要经受意志的考验，而只有知道如何达成理想的人才能最终实现理想，一开始，凡多和莉丝相信只要找到Tar莉丝一定可以重新走路，而他们所有的问题也都会解决，所以说凡多和莉丝可以说是失败了，尽管他们找到了他们的目标，但最终还是被湮灭在了对过分理想化的Tar的畅想中，这也是我觉得这个故事还存在了一丝凄美味道的原因，凡多和莉丝的爱情悲剧可能正因为他俩的迷茫，虽然有生活的方向，却并不知道如何去达成自己的理想，最后演变为绝望，末路，自我以及互相伤害，这多多少少也印证了那个年代青年的心态——尽管Jodorowsky可能并没想这么说。

精彩的配乐也是Jodorowsky所有影片的共同特点，可惜只找到《鼹鼠》的原声，包括本片在内的其他几部的原声只好继续寻觅了，我尤其是特别喜欢莉丝唱的那首“当我死后，将我埋在….”，曲调很是优美，声音也很有质感，尽管有那么点感伤，好象预知了这可怜女人的结局一样。

还有就是，片头的那些画，我不知道它们是否也是宗教画，也不知道是否因为没有看明白那些画造成我对本片理解的偏差，所以希望懂的朋友给我解答吧，对于这样的影片我只能介绍，而尽可能的少去评论了。

一位残忍的女校长在一所寄宿学校折磨一群女孩，拒绝相信她们关于走廊里有鬼魂出没的说法。

Banned until very recently, Arteche’s clandestine documentary chronicles a group of students’ movements in Mexico in 1968.
On July 22, 1968, two rival groups of male adolescent students fought each other in the Ciudadela neighbourhood of Mexico City; the next day the city government responded by sending policemen to stop the accompanying vandalism and to arrest the perpetrators. These riot police (granaderos) attacked the students so ferociously that protests were lodged. No one could have foreseen that both of these testosterone-driven events were the opening scene of the drama of the 1968 University-State conflict which climaxed in the Tlatelolco massacre.

Santo must battle an evil witch and the demons and evil spirits she brings up from Hell.