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.

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看的过程给我的感觉是像一部关于打官司和辩护的类纪录片，“电影性”被淡化，这并不是缺点。人物关系被设计的恰到好处——女主与她的律师朋友，产生关系，律师的作用是拉近了法庭的距离，无时无刻都处在官司的紧张中，朋友的作用是为女主提供惬意的放松，又无时无刻体现友情的真挚。正是这样的描写，让我感受到了“电影性”的存在，聚焦于主角的感情而不是枯燥的案件，此外，还有夫妻之间吵架片段，这个倒叙的证据穿插，侧划的是主角的情绪，最后还有案件结束女主的的心态，都体现了非常强的“电影性”，虽然淡化

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是周六在套看到的，确实挺搞的，大部分演员都是宝莲灯里的，还有那套陆小千回到高老庄里的行头，分明就是沉香的。可惜我看的时候好象是重播，只是周六和周日，害我那两天啥也没干，电视是魔鬼啊！

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一直在心里悄悄琢磨前任四，【小剧透，不影响观看】嗯，这部两个男性角色也随着时代对男性要求的具象化做出了些切实的改变。尽管余飞曾经是个超级花花公子，现在也传统的主动提出结婚并愿意和丁点一起改善两人世界。尽管会吵架但是也没那么惹人烦，两个人终归吵得是具体的东西，还算是理性的。再者孟云胖嘟嘟的好可爱…哈哈…喜欢，好想捏他的脸。而且我比较建议不要把孟云的犹豫和踌躇看作是孟云的犹豫和踌躇，他其实算是一个无性别的大城市青年男女的缩影吧，大多数人都做不到像柳柳那么敢爱的。btw，

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韩明，这个曾经努力拼搏、希望赶上职业生涯末班车进入市院工作的检察官，在面临家庭困境时，人生变得愈发复杂。