María Félix: La Doña

“María Félix was born twice: first when her parents brought her into the world, and again when she invented herself.” — Octavio Paz, Razón y elogio de María Félix

The greatest international star to emerge from the Mexican cinema’s “Época de Oro,” María Félix (1914-2002) is still revered by Latin American audiences as “La Doña.” Félix was not merely a star but a cultural phenomenon who redefined femininity on screen through her portrayals of difficult, domineering women who defiantly operated outside the social conventions of her time. 

This program showcases a selection of her most significant works from 1942-1957, including collaborations with leading directors like Emilio Fernández and Roberto Gavaldón. From her breakthrough role in Doña Bárbara to the internationally acclaimed Enamorada, these films capture the commanding screen presence that made Félix an enduring symbol of Mexican cultural identity. 

Her European career is represented by French Can Can (1955) by Jean Renoir, highlighting her international success despite famously refusing to learn English, turning down a starring role in Hollywood’s Duel in the Sun, and maintaining a proud disdain for the American film industry. Off-screen, her tumultuous relationship with composer Agustín Lara, close friendships with artistic luminaries like Frida Kahlo and Diego Rivera, and the exotic rumors that fed Mexico’s tabloid press enhanced her mystique as one of Mexico’s—and world cinema’s—most captivating figures.

Organized by Dave Kehr, Curator, and Steve Macfarlane, Department Assistant, Department of Film. Special thanks to Daniela Michel and Chloe Roddick of the  Morelia International Film Festival and the Filmoteca de la UNAM.

Film at MoMA is made possible by CHANEL.

Additional support is provided by the Annual Film Fund. Leadership support for the Annual Film Fund is provided by Debra and Leon D. Black, with major funding from The Contemporary Arts Council of The Museum of Modern Art, The International Council of The Museum of Modern Art, Jo Carole and Ronald S. Lauder, the Association of Independent Commercial Producers (AICP), and The Young Patrons Council of The Museum of Modern Art.