José Sánchez-Montes

The Spanish Deep South, 1980. A series of brutal murders of adolescent girls in a remote and forgotten town bring together two disparate characters – both detectives in the homicide division – to investigate the cases.

Granada, Spain, 1922. The composer Manuel de Falla, who dreams every night of the ancestral songs sung to him by his nanny, fears that flamenco art will disappear, so with the help of his friend Miguel Cerón Rubio and the poet Federico García Lorca, he organizes a contest to revitalize and promote it.

Angel, a young intelligent and kind, aims to be a police inspector. Rafael instead is an expeditious, forceful and arrogant policeman. Meanwhile, Miguel and Mateo are part of Group 7, a group of rogue cops ready to do anything to achieve their goals.

Documentary about the revolutionary flamenco-rock album "Omega", composed by maestro Enrique Morente and the Granada group Lagartija Nick in 1996. A groundbreaking album with great impact on the national and international music scene in which Morente adapted songs by the singer-songwriter Leonard Cohen and he put music to poems by Federico García-Lorca.

An account of the life and work of the multidisciplinary Spanish artist Mariano Fortuny Madrazo (1871-1949), textile and fashion designer, set designer, photographer, painter and engraver, known as the Leonardo Da Vinci of the 20th century.

Documentarian Jose Sanchez-Montes turns his attention towards the late Cuban musician Ignacio Villa, known throughout the world as Bola de Nieve (Snowball), with this 2003 biographical documentary entitled simply Bola de Nieve. A master pianist, Bola de Nieve was a mainstay through the middle portion of the 20th century, with his music almost omnipresent in South America cinema throughout those formative decades. With Bola de Nieve's famous statement "I'm a sad person, but my songs sound happy" in mind, Sanchez-Montes also looks at the influence of the musician's African heritage and homosexuality upon Bola de Nieve's unique musical style.

The story of how, thirty years ago, Camarón de la Isla's “La leyenda del tiempo,” an experimental album mixing very different musical styles, revolutionized the world of flamenco music.