Mexican cinema today has a growing number of films every year, but the situation faced by young filmmakers in distributing what they produce remains problematic. Fiscal stimulus to invest in new productions, and the visibility that many filmmakers gain in film festivals, have been of little use. Without a legal framework protecting the philosophical creation of unequal competition with US superproductions that flood the market, the labour of performers is almost always left to drift. Unable to keep their films in posters for a time necessary for a minimal financial recovery, creators are forced to resort to spent entertainment formulas and an inventive narrative. When, on the other hand, they risk diversifying their financing and distribution strategies through co-productions, using a more economical digital format and novel distribution networks, the results are often very rewarding in addition to originals. This is the case for a handful of young filmmakers who, turning the back of the commercial cinema routines, now accept the challenge of cultural resistance in the cinema they produce.