One man's quest to defeat drug addiction
The story of one American overcoming the demons of his past by entering the secretive world of Spanish bullfighting.
Himself
Herself
In their spare time, after their studies or their work, children and adolescents between the ages of eight and sixteen meet at the School of Bullfighting in Madrid to learn the Art of Cúchares: Torear. In their stomachs there is no hunger as in the past, their dreams do not lie in having a farmhouse and being famous. Their only dreams are to be in front of a bull, animal with which death goes, fact of which they are fully aware, as their teachers continually remind them. These, retired bullfighters, some by age, others by force and all with their bodies full of scars produced by the horns of a bull. The nude bullfighting scene is fascinating without being exploitive, and it serves as an analogy for the vulnerability these young bullfighters have when in the ring with the bulls.
Tito del Amo, a passionate 72-year-old researcher, takes the final step to unravel the enigma about the alleged Spanish origin of the American cartoonist Walt Disney, making the same journey that his supposed mother made to give him up for adoption in Chicago. A journey that begins in Mojácar, Almería, Spain, and ends in New York. An exciting adventure, like Alicia's through the looking glass, to discover what is truth and what is not, with an unexpected result.
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Orson Welles presents a proposed film project to prospective investors in Spain. Speaking to an audience of wealthy arts patrons, Welles outlines his vision for an improvised, documentary-style fiction set in the world of bullfighting, centered on a solitary, existential matador who stands apart from his peers. As he expounds on cinema, performance, and the ritualized spectacle of death, the film captures a project that would ultimately remain unrealized.
An exploration —manipulated and staged— of life in Las Hurdes, in the province of Cáceres, in Extremadura, Spain, as it was in 1932. Insalubrity, misery and lack of opportunities provoke the emigration of young people and the solitude of those who remain in the desolation of one of the poorest and least developed Spanish regions at that time.
Based on the negatives of the 33 'La Tauromaquia' engravings made by Goya in 1816, the director invites us to witness the transformation of bodies at the approach of death.
In Garcia Lorca's mother tongue, death is a woman: "la muerte". Daniel slips into the role of "death as a female" and speaks before a video camera on the life and death of the famous Spanish poet. Then the story begins.
Filmed in Cordoba, Granada, Seville, and Toledo, this documentary retraces the 800-year period in medieval Spain when Muslims, Christians, and Jews forged a common cultural identity that frequently transcended their religious differences, revealing what made this rare and fruitful collaboration possible, and what ultimately tore it apart.
A serious crisis has shaken Spain since the referendum on self-determination and the proclamation of the independence of Catalonia by the government of Carles Puigdemont, bold actions firmly fought by the Spanish government by applying the constitutional article that allows it to place a region under guardianship. While Spain is on the verge of implosion, Europe is holding its breath.
On the border, the line as principle of property and belonging reaches an extreme dimension where it physically defines the sphere of its relations. Those who transgress it reconstruct these imaginary lines on a daily basis, redefining the traditional geography and occupying the non-spaces where others live in a temporary form of existence. These others, the non-citizens, are phantasmtic, exchangeable parts of a flexible market. Made invisible, they are permanently controlled persons. Under the pretext of a greater civilian security, they are kept clear from the public spaces reserved for the citizens with rights and pushed into non-public spaces, which are run by state and military surveillance, multinational operations servicing a European market and non-governmental organisations.
Writing a letter to Paul B. Preciado, trans philosopher and filmmaker, as one would write to a friend. Undertake a healing process as a queer child growing up in a Spanish evangelical family. From Lausanne to New York, Lézio Schiffke-Rodriguez follows in the footsteps of revolutions that invite us to redefine our vision of binary bodies.
An analysis of the changes suffered by the sports press over the years. For a long time, sports journalists helped create legions of sports lovers who idolized athletes regardless of which shirt they wore. But today the media maintains an aggressive dialectic war in which the readers have ended up participating.
[Here] Pollet made a work that is the very definition of what French critics like to call an ovni or ufo (as in ‘unidentified filmic object’). [It] has been described as being ‘like a comet in the sky of French cinema,’ an ‘unknown masterpiece,’ and an ‘unprecedented’ work that refuses interpretation even as it has provoked reams of critical writing. Its rhythmic collage of images – a girl on a gurney, a fisherman, Greek ruins, a Sicilian garden, a Spanish corrida – is accompanied by an abstract commentary written by Sollers, and only the somber lyricism of Antoine Duhamel’s score holds the film’s elements together. At first viewing, you fear that [it] might fly apart into incoherent fragments. Instead, over the course of its 45 minutes it invents its own rules, and you realize you’re watching something like the filmic channeling of an ancient ritual.
Film made by activists who lived for a month in the Plaça de Catalunya in Barcelona after the start of a full-scale Russian invasion of Ukraine in 2022.
At the border between Navarre and Aragon we find the moors known as the Bardenas Reales, characterized by the dust and the omnipresence of the northern wind. This is a portrait of a land, but also a journey through Pilar’s memories. It is a glance at the past but also the present, and about how everything has changed, for better or worse.
What we tend to identify with the acting profession has little to do with what is really this profession. Thirty-six Spanish actors reflect on their work and contrasted their experiences. As thread, the contrast between the voices of veterans and images of young theater students , for whom everything is still possible. Among the many actors are interviewed Javier Bardem, Antonio Banderas, Victoria Abril, Carmen Maura, Fernando Fernán Gómez, José Luis López Vázquez, José Coronado, Emma Suarez, Alberto San Juan, Ariadna Gil, Ana Belén, Pilar Lopez de Ayala and many other.
Surrealist master Luis Buñuel is a towering figure in the world of cinema history, directing such groundbreaking works as Un Chien Andalou, Exterminating Angels, and That Obscure Object of Desire, yet his personal life was clouded in myth and paradox. Though sexually diffident, he frequently worked in the erotic drama genre; though personally quite conservative, his films are florid, flamboyant, and utterly bizarre.
This short film "Torerillos 61" is one of the first works of the master Patino, which tries to portray the Spanish society of the time outside the state convention and dodging the hand of censorship. Social commitment is the brand director throughout his long career, starting with short films such as this one, made in the early sixties, in the wake of the statements in Talks Salamanca. The sadness off the characters portrayed is bleak, "Maletillas" (aspiring bullfighters) in search of luck to pull them out of poverty.
The story of the tortuous struggle against the silence of the victims of the dictatorship imposed by General Franco after the victory of the rebel side in the Spanish Civil War (1936-1975). In a democratic country, but still ideologically divided, the survivors seek justice as they organize the so-called “Argentinian lawsuit” and denounce the legally sanctioned pact of oblivion that intends to hide the crimes they were subjects of.
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