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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刚看完时我觉得我没有看懂，看了影评之后更觉得没有看透，后来我想，兄弟俩没变，从一而终，哥哥依然是那个勇敢、坚强、理智的哥哥，没有变懦弱，弟弟依然是那个脆弱、善良、多愁的弟弟，也没有突然成熟，只不过形势变了，他们只不过根据形势做出自己的选择。 先说哥哥，有人说哥哥成为逃犯是他崩溃之后的表现。但我认为这只是他认清现实后自然而然的举动。 他自始至终更多的是为了担负责任二战（保护弟弟、遵守对母亲的承诺、保护自己的那一连、保护国家的人民），但我并没有感到他觉得一个军人就该视死如归、战死沙场。 而当时的情况是，他认识到战争给更多人带来的是伤害，为了毫无意义的目标，杀害很多无辜百姓自己的士兵，弟弟也失踪甚至死了。他的责任消失了，而且他恍然大悟那个责任是没有意义的。所以他放弃，不是逃避，是放弃。 他在湖畔小木屋的场景如此静美。他安静的坐在木屋上，眼神深邃如旧，冷静如旧，虽然有迷茫与怀疑，但并没有“崩溃”“脆弱”者的胆怯。 再看他被抓走之后的行为，坚强的活下去，理智的判断不能用火烧屋，麻利地