1966 Mexican film by Emilio Gómez Muriel

A mad scientist creates a remote-controlled monster and sends it to terrorize the city.

A troubled woman commits a series of murders that exposes some dark family secrets.

Agent Joaquin recalls his latest mission while lying wounded in an ambulance: Joaquin has infiltrated into a band of smugglers. When the villains learn the truth about him, they kidnap Jouqin's fiancee. Santo comes to her rescue and fights the band.

In his first film El Santo was still referred to as ‘El Enmascarado’. Rendered compliant by a scientist and his gangsters via a serum and mysterious rays, he is forced for the opening act to be a henchman for the evil forces who want to take over the world. The film has great historic value, due also to its impressive exterior shots of pre-revolutionary Cuba 1959.

A yeti-like monster is stalking the mountains of rural Mexico, sometimes displaying the powers of hypnosis. It ultimately plays a part in destroying two shady characters.

Julia, a governess, comes to work for a bourgeois family that lives in a forested property they have recently bought. Julia is to take care of a little girl named Silvia, whose unusual demeanor may find its roots in the family garden.

A useless and bloody vendetta has been going on for ages between two families in this Mexican village. Men, sons, have killed each other for generations, for a so-called conception of honor in a revenge that never ends since it is also triggered by people of the village. Now, today, there are only two sons left, one in each family. One has become a doctor in the big city and his culture is modern. The other last one - of the other family - hasn't left the village and is waiting for the doctor to come "home" as he plans to kill him, to settle this war on this matter of honor once and for all. And the people of the village want blood.