IMDb > La portera ardiente (1989)

La portera ardiente (1989) More at IMDbPro »


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Down 3% in popularity this week. See why on IMDbPro.
Alfonso Anaya (story)
Francisco Sánchez (screenplay)
Release Date:
6 April 1989 (Mexico) See more »
User Reviews:
Very patchy, veers between amusing and terrible See more (1 total) »


  (in credits order)
Roberto 'Flaco' Guzmán ... Hijinio
Maribel Fernández ... Macaria (as Maribel Fernández 'La Pelangocha')
Manuel 'Flaco' Ibáñez ... Renato
Alma Delfina ... Adelita
Charly Valentino ... Metodio
César Bono ... Solovino
Jacaranda Alfaro ... Minerva
Elsa Montes ... Edna
Lyn May ... Elsa
José Natera ... Aureliano
Araceli Aguilar
Gastón Padilla ... El Pecas
Gerardo Vigil
Agueda Inchaustegul (as Águeda Ichaustegui)
rest of cast listed alphabetically:
Lucy Cantú
Lizbeth Castro
Teresa Martinez
Juan Moro
Lizbeth Olivier
Alfredo Ramírez
Santiago Salinas

Directed by
Mario Hernández 
Writing credits
Alfonso Anaya (story)

Francisco Sánchez (screenplay)

Production Companies

Additional Details

Mexico:90 min

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Movie Connections:
Referenced in Project Vampire (1993)See more »


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Very patchy, veers between amusing and terrible, 4 August 2011
Author: woodsie-4 from Cuernavaca, Mexico

A cheaply made and mildly exploitative film with little to recommend beyond the performance of Maribel Fernandez, who delivers her lines with crackle and spark and has enough charisma to fill the screen and carry the film on her own, luckily, as the supporting cast do little to help her.

Fernandez plays the titular "doorwoman", more or less charged with watching over the entrance to the large yard around which her neighbours small houses are arrayed. This makes up a traditional Mexican "vecindad", where everyone knows everyone else's business, and the habitants seemingly spend most of their time hopping into the beds of their neighbours. Thus the film is filled with plenty of low-grade farce, cheap double- entendres (or albures as they are known here) and a shot of one of the women cast members showering naked included (gratuitously) approximately every 20 minutes or so.

What tiny amount of plot that does exist is awkward and hardly worth mentioning, but involves the Porteras resolve to save herself for her absent husband's return being tested. The title, which translates loosely as "The Horny Gatekeeper" is quite spectacularly misleading, as the Portera is by far the most virtuous character in the film, while all those around her throw their clothes off at a moment's provocation.

I must confess I enjoyed this film. Apart from Fernandez's performance, these films are almost social documents, and while the dialogue and depictions are exaggerations, they are none the less grounded in a reality that is fast being lost. The vecindad was the bedrock of community organization for generations, yet they are becoming scarcer and scarcer with time. As a relative newcomer to Mexican society, I find I can learn a lot from these films without having to take them at face value.

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