This chapter aims to present an archaeology of gay couple’s visual representation in Mexican cinema. From van Dijk’s mental model concept that describes how people create mental representations about the events, situations, and actions of the natural and social world based in spaces, actions, previous knowledges, and power structures that allows them to understand reality, identity, and otherness, it can be argued that a scene is the audiovisual representation of a mental model. The methodological approach integrates tools from Critical Discourse Analysis and Film Studies to explain the Gay Couple’s Mental Model (GCMM) which several Mexican films have been made and from which spectators approach otherness. Visual representation made from the GCMM is constituted by four dimensions: internal and external recognition of the members of the couple, power relations within the couple, masculinities and spaces. GCMM was set in 1901 by José Guadalupe Posada in his engraving about El baile de los 41 (Dance of the Forty-One), in which he establishes the stereotypes of the gay couple that can be observed in engravings and paintings made in later years. The GCMM can be observed in contemporary Mexican films such as Quemar las naves (Burn the Bridges, 2007, Francisco Franco Alba), Cuatro lunas (Four Moons, 2014, Sergio Tovar Velarde), or Sueño en otro idioma (I Dream in Another Language, 2017, Ernesto Contreras).