José Luis Ruiz Marcos

In 1940, in the immediate aftermath of the Spanish Civil War, a young girl living on the Castilian plain is haunted after attending a screening of James Whale's 1931 film Frankenstein and hearing from her sister that the monster is not dead, instead existing as a spirit inhabiting a nearby barn.

The young but traveled Ana arrives in a manor in the countryside of Spain to work as nanny of three girls and finds a dysfunctional family.

Julián, a middle-aged single doctor, is reunited with Pablo, a childhood friend who has just married Elena, a beautiful young woman.

A lonely housewife hears a man’s footsteps in the apartment above her late at night. The upstairs neighbor insists it is her husband who has returned from business but her explanations are soon contradicted. The woman begins to think her neighbor has murdered her husband.

​Set over the course of a single day, three people embark on a car trip from Madrid to Almería. Antonio is a successful industrialist who is dismayed that his personal life does not reflect his glittering career. He is increasingly insecure about his faltering marriage to Teresa, whom he suspects is having an affair with his best friend, also named Antonio.

Teresa and Peter settle down in their new home after the wedding. Things are going well until her childhood furniture arrives, sending Teresa into horrible flashbacks of turmoil from memories of her youth.

Los desafíos presents three separate stories that are linked by an American presence in Spain in the 1960s, with Dean Selmier playing the role of the American male in all three.

After killing his girl friend, Ana, Amador (a dark and strange man) joins his family (which he can't stand) in Torremolinos, where he gets involved in the assassination of a foreigner woman. It is also in Torremolinos, where Amador meets Laura, a woman who falls in love with him...

Baldiri, a farmer on the Catalan coast, is reluctant to sell his garden, where they want to build a tourist hotel. Through a stratagem, they convince him and sell the land. Loaded with money and after a series of experiences, he realizes that that life is not what he wants, he abandons everything and goes to live in the mountains.

Miguel is a married architect with children; Blanca, an attractive young woman who has attempted suicide by cutting her veins. The relationship between them develops through continuous persecutions, first of him to her and then to him. In their meetings, they reflect on their empty lives, loneliness, boredom and obsession with death.

Santiago wakes up like any other morning. He goes down to the kitchen and his whole family is waiting for him: it's his birthday. They all sing "Happy Birthday to You" and give him presents. But when he opens the present of his youngest son, he gets angry and says he doesn't like it. The boy starts crying and saying that he loves him, but Santiago answers that he doesn't believe him and he tells the boy that he is fired and that he wants another son, who is thinner, who doesn't need glasses and who resembles him more. Written by Pablo Montoya

After spending ten years in prison for a crime he did not commit, Juan is released.

Matilde is a former prostitute who gets married to an american soldier with an uncertain future, due to the possibility of being recruited to the Vietnam War.

A couple shelters an alcoholic haunted by his Republican past in their suburban home.

Portabella’s first feature, co-scripted by poet Joan Brossa, became one of the most influential works of the Barcelona avant-garde, although like all his early films, it circulated only in an underground fashion. Eschewing dialogue, the director constructs a non-narrative story in fragments that reveal the daily lives of an adulterous couple interspersed with a cryptic stream of unrelated imagery. The title of this homage to directors including Eisenstein, Antonioni, Bergman, and Buñuel refers to the 29 “black years” of the Franco dictatorship. — chicago.cervantes.es

After seeing that Nelson kisses his lover, Barlow poisons him. But it turns out that Nelson comes back to life when he was about to be buried. From that moment, Barlow does not stop chasing him to finish his work.