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Hollywood made a deal with Mexico; it's time Screenwriters do, too!

Updated: Apr 29, 2023

Article 8 of our 10-part Screenwriting Staffing Industry Series explains why Hollywood has targeted Mexico and why screenwriters need to take heed. To stay current, join our mailing list.

Every filmmaker and writer has that one foreign film that changed how they looked at film and life forever. In 2001, I had a transformative experience around 4 AM on a school night when Y Tu Mamá También aired on a channel in the 300s.

The film was unlike anything I had ever seen before. It defied conventional filmmaking with its unconventional voice narration, raw and genuine portrayal of sex and drugs, and a story that unfolded mainly inside a car during a road trip through an unfamiliar part of the world. As a young teenage boy with the protagonists being teenage males, the film forever altered my perception of both cinema and the world.

Funny thing is, nearly two decades later, my fascination with Mexican cinema remains strong. It's not just their movies that captivate me, but also their people and culture. Mexico holds a special place in my heart, which is why this published article stands out as my favorite among all others. This passion led me to produce the 3x award-winning short film, Tu Ausencia, shot entirely in Mexico, and write/direct the 6x award-winning short, FROM GRINGO TO GRAVE, filmed in both Mexico and the US. This short was designed as a proof of concept for my upcoming feature, DE GRINGO A LA TUMBA, set on the border. Additionally, I have recently joined as a producer for the feature film THE FINCA, which will be shooting this fall. Though set in Spain, this film is a bilingual Spanish-speaking project.

For some time, my passion for Mexican films seemed unconventional to those I spoke with north of the border. It was challenging to find others who shared my interest. Conversations with film buffs, professors, and historians often led to recommendations of studying foreign indie films from France and Italy, which are undoubtedly exceptional. Nonetheless, my love for Mexican cinema persisted.

With 'Parasite' winning best movie at the Oscars in 2020, everyone has now jumped on the Korean bandwagon. As reported by the Daily Mail in 2023, Netflix has announced its plan to invest $2.5 billion into Korean content, including movies, TV series, and unscripted shows, over a period of four years. I continue to be astonished by the number of people who remain unaware of the remarkable developments in the Latin American film industry, particularly in Mexico.

That's why I included this topic in our 10-part series.

Here are 2 recent script requests that came through our site:

"Mexican production for 1 million dollars. I am looking for a "coming of age" script, with a strong female protagonist, full of struggle and sexual content. The main theme is personal liberation."
"Feature length screenplay that focuses on immigration. Scripts that are set on the U.S./Mexican border preferred. Will also consider scripts set in Central America. Must be written in Spanish."

There is a growing demand for screenplays written in Spanish, which is why we launched our script translation service. Spanish continues to be the most sought-after language, closely followed by Japanese.

According to Deadline in 2021, the Spanish government has announced a commitment of $1.9 billion to bolster the country's film and TV industry and attract international production.

In 2019, NPR reported Netflix would make a considerable production push in Mexico in 2020. They were right. The online streaming giant set aside $200 million on in-country production in 2020, part of its significant expansion internationally.

Netflix has always pumped money into narco and food content, but Netflix has new plans moving forward. Netflix is giving Mexican filmmakers the green-light to break stereotypes. This will pay off brilliantly. Bela Bajaria is a name every screenwriter, showrunner, filmmaker, producer, and even a production assistant, needs to know.

She's molding the future of Hollywood, but her work takes place outside of Tinseltown. As the person responsible for Netflix's international non-English TV originals, her influence reaches far and wide.

In an interview with NPR, here is what she had to say about Mexico’s Netflix content:

"What we want to do is really give a platform and an environment for these storytellers in these countries to be able to tell the story in the most authentic way - I mean, really having people on the ground in those countries who come from there to be able to do this."

My first article in this series started with The Future of Film is China. That was by no accident. China has been slowly and systematically shaping the future of film, and many estimate within 5 years it will be the global leader in cinema. Although China produces original content, they also collaborate closely with Hollywood studios to optimize profits. Consequently, a significant portion of the scripts originates from Hollywood, resulting in films that exhibit a distinct "Americanized" flavor.

In contrast, Mexico creates content primarily authored by Mexicans, which occasionally doesn't involve any participation from the United States. With a fully Mexican cast and crew, these productions still manage to generate profits in the US and Canada. The reason for this success lies in the audience's appetite for their compelling narratives, even when no English dialogue is present.

From THE BORDER (1982), which stars Jack Nicholson, to SICARIO (2015, 2018), which stars Benicio Del Toro, Americans & Europeans have craved content on the border. But with immigration, asylum, & a wall making headlines daily, there has never been a better time to push content set on the border.

"Because of Los Angeles’ proximity to Mexico, movies have told stories about border disputes since nearly the dawn of cinema." - MEL MAGAZINE (2019)

I think as writers and filmmakers, we understand and appreciate that.

Nonetheless, I believe that numerous US and European writers and filmmakers have not fully recognized the potential of Mexican cinema that extends beyond border-centric narratives.

Mexico is to blame for this partially. Why? Because for the longest time, film and television were censored in Mexico. Televisa and TV Azteca created a duopoly that gave Mexican indie filmmakers very little wiggle room or leverage. Not anymore. With Netflix, Amazon, Sony and Telemundo, Mexican filmmakers have the opportunity to produce larger-scale films without censorship. Not only are they given larger budgets, but they get to produce them (and cast and crew up) in Mexico. Most countries are not given this freedom.

In my article, " Top 20 Cities to work as a Screenwriter," I discussed cities in New Mexico. It's understandable that when people hear the words "Mexico" and "Hollywood" together, they might think of "New Mexico." This association makes sense, given that Netflix has offices in New Mexico, and many of our favorite television shows are filmed there.

But did you know Netflix's regional headquarters is in Mexico City? They also have offices in São Paulo, Brazil.

Did you know Amazon Originals, Sony, Discovery, and WWE also have major offices in Mexico City?

How about this? HBO and Cinemax have had offices in Mexico's capitol for nearly a decade.

Is it merely a coincidence that the NFL scheduled games in Mexico last year and seems to be discreetly advocating for a team to be established there?

According to Variety, Netflix will be producing 50 (while some trade magazines say up to 75) television and film projects in Mexico this year. It is their largest international production slate.

For context, based on WorldOMeter data, Mexico ranks as the 14th largest country. This implies that, excluding the United States, Netflix opted for Mexico over 12 other more populous nations.

But they aren’t the only ones boarding this gravy train.

Just this year, Disney+ and HBO Max have put a good portion of their resources and energy into the Latin American film market.

It's incredible what's unfolding in Mexico's film industry, but when discussing Mexican cinema in the US or the UK, the response from most indie writers and filmmakers is often silence, akin to the sound of crickets.

This concerns me. Are these writers and filmmakers at risk of being left behind if they don't acknowledge and embrace the potential of Mexico's film and television market?

I believe so. As Bajaria has hinted in multiple interviews, she and her team are seeking individuals at the heart of the matter – those who genuinely comprehend the culture and region.

In 2014, Alfonso Cuarón became the first Hispanic and Mexican to win the Academy Award for Best Director. Gravity.

In 2018, Guillermo del Toro became the 3rd Mexican filmmaker to win an Oscar for directing in 4 years. Streaming services began drooling over this.

Then, a year later, Mexican film ROMA’ made history as Netflix’s first Academy Award Best Picture Nomination.

In 2023, Ana de Armas, who portrayed Marilyn Monroe in BLONDE, was nominated for an Oscar. Although she wasn't born in Mexico, she is of Cuban-Spanish descent. This is significant because we are now witnessing real-life individuals of Caucasian (or other racial) backgrounds being portrayed by Hispanic actors.

According to Forbes and Statistica, the top 3 Netflix subscriber regions worldwide are North America, Western Europe, and Latin America.

While executives at major Hollywood studios placed their time and energy on the hashtag #OscarsSoWhite, where they delegated most of their time promoting, hiring, and casting African American filmmakers and talent, many streaming services recognized that the hashtag transcended far past just one single race. So while major streaming services did incorporate more African American writers, filmmakers, and cast, they didn't just stop there.

While streaming services have struck gold as of late with the Latin American film industry boom, Lionsgate was one of the first (or, at least, most notable ones) to exploit this market 10 years ago.

They backed Pantelion Films, based in Los Angeles. Their focus is bringing large theatrical distribution geared to Latino audiences. They have strong relationships with major theaters, like AMC and Regal. Pantelion distributed the movie Instructions Not Included (No se Aceptan Devoluciones). The film was made for 5 million. It grossed 100 million. This marked a historical shift, as prior to this rise, most Latin American films relied on funding from Europe. The challenge? Europe lacks the infrastructure, financial capacity, and tax incentives that the United States offers. Therefore, it was only logical for Hollywood to eventually forge a profitable partnership with our neighbors south of the border.

It’s common for producers and agencies to follow the trade magazines daily.

I highly recommend getting in touch with Mexican talent management agencies, some of which have offices in West Hollywood. One of the best management agencies in this regard is Talent on the Road Management. They may not necessarily represent the biggest names in entertainment, but their talent is deeply invested in pushing Mexican cinema to its fullest potential. Some of their talent has been involved in producing some of my favorite films on Netflix, such as Sin Nombre (starring Paulina Gaitan), Chicuarotes (starring Leidi Gutiérrez), and La ley de Herodes (starring Damián Alcázar). Bringing on such talented individuals to your project can generate interest, but it's important to know the right players in Mexico.

Screenwriters, on the other hand, seem to think this doesn’t apply to them. Especially screenwriters who are indie and/or non-union.

Screenwriting is far more than storytelling. It is a business. And to be successful in any business, you must understand your industry and its trends.

In 2008, a Mexican-Canadian filmmaker ANDREA MARTINEZ CROWTHER directed INSIGNIFICANT THINGS, which was produced by acclaimed Mexican filmmaker Guillermo del Toro (nominated for seven Academy Awards and winner of three). The film stars Paulina Gaitan and Bárbara Mori. In 2020, I had the opportunity to chat with her on my blog about her thoughts on why companies like Netflix and Amazon are entering the Latin American film market. Here is what she had to say:

"Mexico is where much of the kind of filmmaking that I love can be found. It is so vast and diverse, but made with guts, heart, tears, and commitment, and with the vision and voice of the director. I think this has a lot to do with the fact that there have always been several ways for directors to get their films funded (tax breaks, development, production, and post-production grants, etc.). This is the main reason why Mexico has been the largest film producer in Latin America"

When you sit down and write your next story, I challenge you to consider writing in a strong Hispanic character. Why?

The U.S. Hispanic population reached a record 59.9 million in 2018, up 1.2 million from 2017, and up from 47.8 million in 2008, according to newly released data by the U.S. Census Bureau. How about 2022? According to the Hispanic Star Organization, the projected U.S. Hispanic population stands at 132.8 million individuals as of 2022. Do you realize this substantial figure represents almost 20% of the entire US population?

I’ve talked about this over and over again through this series, but if you think for a moment Hollywood places art over business, you have been grossly misled. Hollywood has recognized the growing Hispanic population for a few years now, and plans to exploit it every which way.

The growing interest in the Latin American film market is gradually making its way into the United States. It won't be long before US-based screenwriters will need to embrace Mexican characters and storylines. Failing to do so could result in a dwindling audience and a lack of readers or viewers. If you are still reading, it at least means you are intrigued.

So let's talk about how to write for the Mexican film market, or, at the very least, incorporating a strong Mexican character into your story.



Whenever I am in the company of 3rd and 4th generation Mexicans in various parts of the United States, particularly in Los Angeles, I often observe that they still believe in the misconception that Mexico's cultural identity is intrinsically linked to soap operas. Perhaps this perception is rooted in their grandmothers' or great-grandmothers' memories of watching these shows during visits to Mexico over 20 years ago. Nonetheless, I can confirm that these melodramas are gradually losing their appeal in Mexico, primarily due to the emergence of innovative and engaging content from streaming platforms.

Allow me to provide you with some examples that support my argument.

"La Reina del Sur" - This Mexican telenovela was adapted into a popular TV show in the United States.

"Ugly Betty" - This American TV show was adapted from the Mexican telenovela "Yo Soy Betty, La Fea."

"Rebelde" - This Mexican telenovela became a huge hit across Latin America and was later adapted into a successful TV show in Mexico, Spain, and Portugal.

I used to visit a small town called 'Naco' located in Mexico for my haircuts. I have been asked on occasion if they play soap operas at the barbershop (and next door beauty salon), but the truth is, they never do. When creating content for the Mexican audience, refrain from using clichéd soap opera themes.


What movies have truly stood the test of time? Gangster films, particularly those centered around the Mafia. From classics like GODFATHER, SCARFACE, and GOODFELLAS, to more recent releases such as IRISHMAN and CAPONE. What sets these movies apart from other gangster films? Authenticity. Many of them are based on true events, which adds to their appeal and success.

What type of gangster films have failed miserably? GOTTI, GANGSTER SQUAD, and SMOKIN ACES.

Gangster-type films, with big guns and big names, have the potential to gross hundreds of millions, but if done poorly, go belly up (bankrupt).

When it comes to writing about the drug world, it's important to tread carefully and approach the topic with caution. Thorough research is crucial. In fact, I spent nearly a decade conducting interviews, traveling, and researching before embarking on my upcoming feature film, DE GRINGO A LA TUMBA. Even now, I continually refer back to my notes and research, and spend time in areas relevant to the subject matter.

Streaming services' fascination with drug kingpins like Pablo Escobar, Joaquín Guzmán, Miguel Felix, Amado Fuentes, and Griselda Blanco is not unfounded. These figures rose from humble beginnings through sheer hustle and determination to become incredibly powerful, often surpassing the reach of their own governments. Some even made deals with the CIA and DEA. However, writing about these characters accurately requires a wealth of insider knowledge and thorough research. When executed correctly, stories related to these infamous names become binge-worthy content for audiences in America and Europe alike.

Billboard reports that Karol G is set to make her acting debut in the forthcoming Netflix series "Griselda," which is centered around the life of drug queen Griselda Blanco. The lead role of Blanco will be played by fellow Latina actress Sofía Vergara.

Narco culture will surpass anything mafia-related when it comes to storytelling.

Why? Because the drug trade nets over $435 billion a year. Hollywood has always exploited the stories of rich people and organizations, because people are fascinated by wealth and entrepreneurship (even if it's illegal and bloody). Content like THE SOCIAL NETWORK, WOLF OF WALL STREET, THE QUEEN, STEVE JOBS, and VICE are just some examples.

Streaming services are investing huge sums of money into producing Mexican films and TV shows that are filmed, directed, and feature an all-Mexican cast, entirely in Spanish. However, the catch is that these productions are still beholden to the streaming giants, who have to market their content to over 160 countries worldwide. While Mexicans may not necessarily be interested in watching stories about their country's corruption, drug wars, ongoing issues with machismo, hundreds of femicides, or the construction of a border wall, the rest of the world is. This is precisely why this type of content will continue to be in demand, as it sells globally and is unlikely to change anytime soon.

So, if you want to tackle narco culture, do your research before jumping into an already over-saturated market.


Ever heard of shows like Club de Cuervos, The House of Flowers, Luis Miguel: The Series, 100 días para enamorarnos, Belascoarán, PI? How about movies like No One Will Ever Know, El Club de los Insomnes, Como caído del cielo, Grandma’s Wedding?

What sets these Mexican shows and films apart, many of which are still available for streaming, is that they don't rely solely on the narco culture trope. Despite the common misconception, Mexico offers so much more.

Mexican filmmakers have, and will continue to make stories about their beautiful people, their beautiful land, and their beautiful traditions. And it's totally possible to do this without having a single narco in the film. As this industry continues to grow and grow, more and more films will illuminate all that is good about Mexico, and not what is bad. When writing for this market, it's essential to consider this aspect. If you want to differentiate yourself from the typical content, try writing a script that avoids the common theme of corruption (after all, corruption exists in many other countries, including the United States). A prime example is the Mexican film "Instructions Not Included," which was a cinematic masterpiece despite having zero references to drugs.


As I said before, I started with the rise and dominance of the Chinese film industry for a reason: to be controversial and rub people the wrong way. I'm tired of people ignoring what's really happening in the film world. 40% of the producers who post through my site consider English as their 2nd language.

But I do understand how it can be a bit daunting for a writer to write about a world that's very unfamiliar to most.

There are certainly some stark differences between China and the U.S. in terms of censorship, politics, religion, and even cuisine. However, that doesn't mean we should disregard the Chinese film market altogether.

On the other hand, when it comes to writing for the Mexican film market, I don't feel quite the same level of disconnect. Our religions are very similar, and we share a passion for the same sports. Our music also bears striking similarities, as seen in the Miami Super Bowl halftime show. Our bar scenes look almost identical to many well-developed Mexican communities. Additionally, our judicial systems share many commonalities. Perhaps most importantly, we share a border with Mexico for crying out loud!

A good portion of the US population is Hispanic, as discussed earlier. As a writer, don't be intimidated by the prospect of incorporating Hispanic characters into your script. Unless you completely disagree with me about the Mexican/Latin American film industry, there's no reason why your story can't include diverse and authentic characters.

It's important to embrace your limitations, though. While the crossover may be easier than some might assume, there can be a language barrier. If you're not from Mexico or don't speak Spanish, consider partnering with someone who does to ensure that your characters are accurately portrayed. As someone who frequently spends time in Central America, particularly in Guatemala, I can confirm that the dialect there can be quite distinct from that of Mexico. Professional actors in Mexico have little patience for stereotypical and generic dialogue, especially from English-speaking directors. It's the same thing I see on Facebook groups all the time. Someone from Nigeria or India will post their script on an American screenwriting group, and everyone and their mother rip into the young writer because it's in broken English. While I'm against social media bullying, I understand why people get frustrated. If you want to write for the Hollywood market, your script better be in "understandable" English. But the same theory goes for those writing for the Latin American film market. Your Spanish better be pristine.

TVOM had this to say about Paulina Gaitán (which, by the way, is my favorite actress because of the wide range of characters she portrays, from poor to rich.):

Most young actors are so happy to land high profile parts that they are willing to perform whatever the script demands. Others, like Gaitan, value their performances so much that they contribute to the characters. She has stated that she is happy to give her opinion on the words and actions of her characters if needed. Often, this is the case when English directors misunderstand how dialogue sounds in Spanish.

In 2021, I visited Kinematica Academia de Cinematografía in Ciudad Juárez, Mexico and was impressed by the immense talent both in front and behind the cameras. Despite some artists being bilingual and others not, their passion and skills were remarkable. During my frequent visits to the school, thanks to producers Jose Antonio Hinojos and Gilberto Mauricio, discovered that they were more interested in making Juárez known and proud, rather than making a name for themselves in Hollywood. Like many in Mexico, they aspire to showcase their country's talent in cinema.

I try to tell writers and producers all the time that before they take their screenplay to international casting directors and A-list talent, you MUST have a translated script. If anything, the dialogue needs to be translated into the language being spoken.

I had to do this myself recently with a couple of my scripts.

When international clients inquire about our translation service, they often request Mexican translators specifically for Spanish translations.

Here's an example: Matias Lecaros, a film director from Chile with Abaddon Pictures, needed their script translated into English, but with a specific requirement. Matias asked if I had a bilingual translator who was fluent in both American and Mexican slang because he and the writer had two different accents and slangs - Chilean and Argentinean - and they needed to target American and Mexican producers. I connected Matias with my top translator, Daniela Marquez, who lives on both sides of the US/Mexico border. Dani did an excellent job, and Abaddon Pictures came back to us for a second script.

Additionally, avoid stereotypes or characters that appease U.S. audiences.

THE MULE, by Clint Eastwood, had the potential to be an Oscar-winning film. It's based on a true story. Why did the film fail? The two leads (Clint Eastwood and Bradly Cooper) were flat and pitiful. But where the film really failed was with its stereotypes. Andy Garcia played a handsome, charismatic, happy-go-lucky, best-buddy type of fellow, even though he was supposed to be the most feared drug lord in Mexico.

The low-level narcos portrayed in the film were heavily tattooed from head to toe and used outdated slang. The casting choices were predictable, with actors like Noel Gugliemi, who has played similar roles in Training Day, Fast and the Furious, and Streek Kings, as well as Robert LaSardo, known for his roles in CSI: Miami, Nip/Tuck, and Femme Fatales. While both Gugliemi and LaSardo are highly talented actors (and I am a die-hard fan of many of their films and roles), it's time for filmmakers to expand their horizons and cast a wider range of actors when portraying these types of roles.. Repeatedly seeing the same character types can diminish their impact. It's understandable that Middle America may envision drug mules as tough, tattooed individuals like "DANNY TREJO," but in reality, most look like ordinary people. If you can't visit the border, watch reality shows like BORDERFORCE, BORDER WARS or TO CATCH A SMUGGLER. The majority of individuals apprehended for drug smuggling are young Caucasian men and women, including pregnant females, Mexican grandmothers in their late 60s, and professional businessmen who frequently travel for work.

I'm particularly thrilled to have Robert LaSardo on board for CURSED WATERS, a film where I serve as an Executive Producer. The movie, which starts filming in July 2023, is centered around the navy and pirates, with no involvement of narcos.

It's time Hollywood grows up. Don't fall into their trap.

If you're keen on avoiding Hollywood's mistakes and want to learn from them, I highly recommend watching the 2013 FX show "The Bridge," which was an imitation of a Danish/Swedish show. The show is set along the border between El Paso and Juárez, but apparently, the production team never set foot in Mexico (go figure). When they purported to shoot in Juárez, they kept the frame tight so that viewers wouldn't notice they were filming in Texas. They scattered empty beer and coke cans haphazardly on the streets to create a "Mexican" ambiance. They always shook the camera while filming in Mexico to create an impression of bumpiness and unease on the roads. The show tried to minimize the use of subtitles, so they used a "Spanglish" hybrid-language for the Mexican characters, but this turned out to be a disaster, and the show was ultimately canceled.

One of my all-time favorite films is "Sicario," but there's one scene in particular that I found unconvincing - the ambush on the Bridge of the Americas. I understand that American audiences crave a certain level of excitement, and the media often portrays similar situations, but if you ask anyone who lives in Juárez or El Paso if anything like that would ever occur, the answer would undoubtedly be NO. In fact, they had to construct a fabricated bridge in New Mexico just to shoot that particular scene, and in my opinion, it shows in the final product.

If you are genuine when writing your characters and setting, you will be just fine.


Just because you vacationed once in Acapulco or Cancún, doesn't make you an expert. Just because you drove 2 hours south from Los Angeles to Tijuana when you were younger to party (trust me, I get it. I did the same thing), doesn't make you an expert.

There's more to Mexico than beaches and borders.

Imagine a filmmaker from Puebla, Mexico, who only traveled to New York City and Los Angeles, attempting to write the great American novel about the "American Way." It would be a challenge since those two cities are out of touch with the true essence of what's happening in the country. The same applies when writing for the Mexican film market. It's crucial to explore other parts of Mexico to gain a comprehensive understanding of the country's cultural nuances. If you find yourself in areas where everyone speaks English, you may not be in the right location.

A prime illustration of this can be seen through my own experience in Guatemala over the past three years (and, occasionally, residing there for three months at a time). Initially, I spent most of my time in Antigua, which is often recommended as a top tourism spot due to its low crime rate, rich culture, delectable food, vibrant markets, and lively music scene. However, it wasn't until I ventured beyond Antigua and explored numerous other regions throughout the country that I truly began to comprehend their culture. While Antigua is predominantly English-speaking, the rest of Guatemala boasts 25 different languages, with Spanish being the official and most widely spoken language. Furthermore, there are an additional 22 Mayan languages as well as two other Indigenous languages, Garífuna and Xinca, spoken throughout the country.

While I have occasionally incorporated Guatemala into my writing, it's crucial to recognize that solely relying on my experiences in Antigua would be a disservice to Guatemala's extensive and diverse culture.

If traveling to Mexico isn't feasible, there are still various ways to become well-versed in the country's culture. Delve into Mexican literature, including both fictional and non-fictional works. Attend local Hispanic/Latin-run film festivals and watch films set in Mexico, created by Mexican filmmakers. Conduct interviews with individuals who have migrated from Middle Mexico to gain a deeper understanding of their experiences. Additionally, it's essential to stay updated with the latest news and trends in Mexican publications to remain informed of the latest developments.

I'll close with this.

As a lover of Mexican cinema and aspiring creator within the industry, I made the decision to relocate to a small border town in Arizona for two years (2018-2020) and then spent just over a year in El Paso/Ciudad Juárez (2021-2022) while producing 2 short films, attending border film festivals, and trying to get a feature film off the ground. I understand that not every writer or filmmaker will have the same level of passion for the Mexican film market as I do, nor do I expect them to move near the border or to Mexico. However, I firmly believe that to stay relevant in this industry, it's critical to be aware of where money and production are shifting, and it's not in the States. With Hollywood oversaturated with content and everyone competing for new subscribers, the US and Canada markets have reached their limits. This leaves Mexico as the untapped market in North America.


3 MEXICAN movies currently on streaming services I encourage you to watch: Güeros (Tenoch Huerta), El Infierno (Joaquín Cosío), and Polvo (José María Yazpik)

3 MEXICAN shows currently on streaming services I encourage you to watch: Diablo Guardián (Paulina Gaitán), El Señor de los Cielos (Rafael Amaya), and The Head of Joaquín Murrieta (Leidi Gutiérrez).

"Latinos buy a fifth of all movie tickets but star in just 3 percent of all movies!" -- The SACRAMENTO Bee (2019)

I'm trying to change that. If you'd like to be a part of my timely feature film, set predominantly in Mexico, with a majority of Mexican actors, you can learn more here:

If you are looking to network with Mexican film enthusiasts and movie makers, I'd recommend checking out these film festivals in Mexico:

If you are wanting to watch Mexican films, both old and new, here is a great list to start (all on Netflix):

Finally, while it may not be for everyone, one of my favorite Mexican Amazon Originals right now is Diablo Guardián. The 1st season is set between Mexico and the United States, in both English and Spanish. The 2nd season is all in Spanish and set in Mexico. Based on the 2003 novel by Xavier Velasco. Learn more here:


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Article was written by Jacob N. Stuart.

Jacob N. Stuart is the Founder of Screenwriting Staffing, an online community that connects screenwriters and screenplays with film and television entertainment professionals. Since 2013, Jacob has helped facilitate over 250 success stories (sales, options, hires, and representation), most notably a Christmas movie produced by Hallmark in 2017. Here is a small list:

Jacob is also an award-winning and produced screenwriter, with over a decade of film experience. His films have been screened at theaters across the globe, as well as distributed traditionally through dvd/blu-ray. He currently has 3 films (2 features, 1 short) on VOD, including the award-winning film AN ADDICTING PICTURE. He holds a Bachelors in both Film and Entertainment Business from The Los Angeles Film School. He has also written for other top industry publications, including Final Draft, Creative Screenwriting Magazine, and MovieMaker Magazine. He currently teaches film ethics/theory at Westinghouse Arts Academy online part-time.

For more on Jacob:

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