Yolanda Ríos
1951 - 2012
F. E. N.
Antonio Hernández
Héctor Alterio, Yolanda Ríos
Two former students of a strict religious school decide to return there during the summer holidays to make those who were their teachers experience all the suffering they experienced as students, beginning a sinister game in which the buried violence, the dark traumas of the past and the desire to heal old wounds will lead them to an unexpected climax.
F. E. N.
El huerto del francés
Paul Naschy
María José Cantudo, Ágata Lys
"The Frenchman" was what locals called the man who ran the bar and restaurant in the small town of Peñaflor in rural Spain in the early part of the 20th century. But Juan Andrés Aldije Monmeja was not your usual jolly innkeeper. He ran an illegal gambling den and pimped out the waitresses who worked for him. Deciding there were easier and quicker ways to exploit his customers, The Frenchman started slaughtering them, stealing their money and burying their corpses in the garden at the back of his inn. It was not long before people started asking questions...
The Frenchman's Garden
La otra alcoba
Eloy de la Iglesia
Patxi Andión, Amparo Muñoz
Marcos, an important businessman working in Madrid, is wealthy, ambitious and has political aspirations. On top of it, he has a beautiful wife, Diana. Their married life, however, is marred by the fact that, after years of married life, they do not have children. At the last minute Diana backs down from adopting a Vietnamese orphan. She is determined to have a biological child. However, Marcos is sterile and has kept this a secret from his wife. When he tells her the truth, Diana reveals that she already knew it having recently consulted a gynecologist who determined that she can conceive.
La otra alcoba
Usted tiene ojos de mujer fatal
Jesús Yagüe
Pepe Martín, Ismael Merlo
Madrid, Spain, early thirties. The charming playboy Sergio Hernán is an unscrupulous womanizer who over the years has seduced and abandoned hundreds of women with the complicity of Oshidori, his cynical butler. However, his brief encounter with Elena Fortún, blonde, posh and a bit cheesy, unexpectedly leaves an indelible mark on his soul.
Usted tiene ojos de mujer fatal
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
Dos mejor que uno
Ángel Llorente
José Sacristán, Antonio Resines
Rafa and Jeromo are a curious couple of friends. Their friendship began in childhood as well as his love for Silvia, which have been in love since childhood. Silvia Jeromo elected, and Rafa decided to disappear. Years later he returns and finds that the couple is experiencing a serious emotional crisis...
Dos mejor que uno
La muerte ronda a Mónica
Ramón Fernández
Nadiuska, Arturo Fernández
The marriage between Federico and Monica is on the rocks. Federico has a mistress named Eva. There is a conspiracy between Monica's friend Elena and Eva to take over the company Eurozone owned by Federico. The situation becomes complicating when Diego appears, Federico's former associate.
Death Haunts Monica
Jaque a la dama
Francisco Rodríguez Fernández
Concha Velasco, Ana Belén
After Paula's suicide, her best friend, Ana, recalls the circumstances that united both women in the past and how they lived a close relationship that could have become more than just a friendship if social conventions had not prevented it.
Check to the Queen
