four women who represent the four pillars of the cinema industry, one of whom is Mexican actress Dolores del Río. Gabriel Figueroa is known for black-and-white camerawork that is generally stark and expressionist, with simple but sophisticated camera movement. The second advantage was that Mexico was not heavily involved in the Second World War, and therefore had a greater supply of celluloid for films, then also used for bombs. In the 1930s, the government became interested in the industry in order to promote cultural and political values. Much of the production during the Golden Age was financed with a mix of public and private money, with the government eventually taking a larger role. In 1942 the Banco Cinematográfico financed almost all of the industry, coming under government control by 1947. This gave the government extensive censorship rights through deciding which projects to finance. While the ruling Institutional Revolutionary Party (PRI) censored films in many ways in the 1940s and 1950s, it was not as repressive as other Spanish speaking countries, but it played a strong role in how Mexico's government and culture was portrayed. The Golden Age ended in the late 1950s, with the 1960s dominated by poorly made imitations of Hollywood westerns and comedies. These films were increasingly shot outdoors and popular films featured stars from lucha libre. Art and experimental film production in Mexico has its roots in the same period, which began to bear fruit in the 1970s. Director Paul Leduc surfaced in the 1970s, specializing in films without dialogue. His first major success was with Reed: Insurgent Mexico (1971) followed by a biography of Frida Kahlo called Frida (1984). He is the most consistently political of modern Mexican directors. In the 1990s, he filmed Latino Bar (1991) and Dollar Mambo (1993). His silent films generally have not had commercial success. In the late 20th century the main proponent of Mexican art cinema was Arturo Ripstein Jr. His career began with a spaghetti Western-like film called Tiempo de morir in 1965 and who some consider the successor to Luis Buñuel who worked in Mexico in the 1940s. Some of his classic films include El Castillo de la pureza (1973), Lugar sin limites (1977) and La reina de la noche (1994) exploring topics such as family ties and even homosexuality, dealing in cruelty, irony, and tragedy. State censorship was relatively lax in the 1960s and early 1970s, but