Emilio Amero took charge of the film club when he returned to Mexico after his extended stay in New York. The purpose of the film club was to distribute films based on both experimental and visual criteria. Xavier Villaurrutia (1903-1950), another member of the group Los Contemporáneos [Contemporaries], was committed to the dissemination of avant-garde art. The disciplines in which he was active included drama, poetry, acting, drawing and cinema criticism, as seen in this article; in fact, criticism was the field in which he excelled. This is why he was considered the first professional Mexican film “critic.” The art writing—before Villaurrutia’s appeared—was done by non-qualified reporters merely reviewing exhibitions. Los Contemporáneos—also known as the “non-group group,”—was opposed to the nationalism of the revolutionary period and defended freedom of expression. Its members sought new aesthetic guidelines in foreign avant-garde work, incorporating stylistic changes and cosmopolitan European aesthetics into Mexican art. The group emerged from the magazine Contemporáneos published from 1928 to 1931. Its outstanding members were José Gorostiza, Xavier Villaurrutia, Salvador Novo, Jorge Cuesta, Gilberto Owen, Inés Arredondo, Jaime Torres Bodet (editor), Carlos Pellicer, Bernardo Ortiz de Montellano (editor), Enrique González Rojo, Elías Nandino, Bernardo J. Gastélum (editor) and Octavio G. Barreda. The painters who were adherents of the group’s ideas included Agustín Lazo, Julio Castellanos, Rufino Tamayo and Manuel Rodríguez Lozano.