Diana Salcedo
1907 - 2008El cianuro… ¿solo o con leche?
Mara Recatero
Mari Carmen Prendes, Aurora Redondo
A decrepit house in Badajoz, Spain, on a cold winter night in 1925. Laura and her mother Adela, who is confined to a wheelchair, are faced with the possibility of putting an end to the grumpy grandfather's life, who is around ninety-two years old. But then, suddenly, cousin Enrique, a doctor by profession, shows up, which will change the course of events…
El cianuro… ¿solo o con leche?
Nada
Edgar Neville
Conchita Montes, Rafael Bardem
Barcelona, in the forties. Young Andrea comes to town to start college in the midst of an oppressive environment and extreme poverty. She's staying at her aunt Angustias, along with other family members. But the quarrels between them are continuous, making evident the open wounds left by the Spanish civil war.
Nothing
El aliento del diablo
Paco Lucio
Valentina Vargas, Fernando Guillén
A small family of travelers arrives after a long journey at a village hut, which they claim as home. The family consists of Damian, a mute but skilled hunter, his wife Priscila, and their two children, a mute son named Pablo and a beautiful daughter named Agueda. Before long, Don Rodrigo, the feudal lord of the village, sets his sights on both Priscila and Agueda.
The Devil's Breath
Sesión continua
José Luis Garci
Adolfo Marsillach, Jesús Puente
Director José Luis Garci has turned his camera inward on filmmakers and screenwriters to portray them as so self-absorbed in the creative process that there is no other world, no other human relationship that can compete. As José (Adolfo Marsillach) and Federico (Jesus Puente) work together on a new screenplay, their interactions with their family (José's teen daughters, Federico's wife) disappear under the all-consuming task of creation. The daughters give up and go off on their own, and the wife joins a convent while Federico barely notices. And when the producer is interrupted by profound grief at the sudden death of his older son, he almost automatically returns to thinking about the film project when the funeral has ended. Garci honors many great directors at the beginning of this film, and the film continues to play out as an elaboration on this homage -- an illustration both of the dedication and the cost of filmmaking, no judgments given.
Double Feature
Morir... dormir... tal vez soñar
Manuel Mur Oti
Rafael Arcos, Israel Morales
Given the proximity of death, the experiences of the past come to the memory of Juan. In a fragmented, sometimes confused way, Juan relives the crucial moments of his life, always linked to the names of women. Moments that remind him of having missed numerous opportunities to be happy.
To Die... To Sleep... Perchance to Dream
Puebla de las mujeres
Antonio del Amo
Marujita Díaz, María Dolores Albert
A young man arrives at Puebla de las Mujeres, a village of Andalusia with the tradition that man that arrives, man that marries there. The foreigner is going to solve some issues of interest of an aunt who lives in the village. Soon as he arrives all women mobilize, captained by the mayor, for electing bride and organize the wedding. The designated Juanita de la Rosa, does not want to participate and he laughs at the arrangements saying that he has a girlfriend in Madrid.
Puebla de las mujeres
Tres huchas para Oriente
José María Elorrieta
Nani Fernández, José Nieto
Pedro Manolo and Juan, three naughty and full of enthusiasm children go out with their piggy banks collecting money for missions. Near the end of the day, a car ran over one of them and is driven to a nearby hospital. The head of school, not knowing which of the children was injured calls the parents of the three to attend the health center. In parallel, we know the story of the three families. In the upper-class family, the father will leave his mother for another woman, in the middle class one, one sister invites her boyfriend to lunch and family revolutionizes and, finally, in that of lower class, the boy's father is about to be complicit in a crime
Tres huchas para Oriente
