Juan Calot

Ten years after ratting on his old mobster friends in exchange for personal immunity, two hit men drive a hardened criminal to Paris for his execution. However, while on the way, whatever can go wrong, does go wrong.

A young man navigates the bureaucracy of the Catholic Church when he tries to renounce his faith.

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.

A journalist, overwhelmed by problems, contemplates suicide. He then finds a way out of his desperate situation by fleeing to a mountain village haunted by the legend of a bloodthirsty wolf that he, perhaps, can hunt.

Cascabel is the nickname of a 19-year-old girl from a small town who dreams of going to Madrid to try her luck. After the failure of her friend Luz, who has not managed to succeed as a singer in the capital and has to return to town, Cascabel will try to impress a musical representative who is hunting in the vicinity.

Film based on the characters of the English writer Arthur Conan Doyle. It tells a hypothetical meeting in Madrid between the legendary detective Sherlock Holmes and Jack the Ripper.

In 1940's Madrid. Juan plays piano for Pepita and her on-stage partner Mario. Although Mario really wants to steal Juan for himself, Juan is not interested and Mario resorts to a string of lovers as consolation. When he loves (and leaves) a young nobleman, the young man wants revenge.

After his son dies, an elderly man comes back to Spain from the US and hopes to find out which of his granddaughters is true, and which one is bastard.