Pierna creciente, falda menguante

A married couple are temped by passions around them.

An attempt to create a bridge between the different political positions that coexist, sometimes violently, in the Basque Country, in northern Spain.

Mónica, the manager and wife of singer Álex, plans a publicity stunt that goes awry. When her husband shoots a rival singer with a gun supposedly filled with blanks, the singer is killed with live ammo. Álex and Mónica then goes into hiding while trying to find out who set them up.

A new adventure of Parchís.

A hunchback working in a morgue falls in love with a sick woman. He goes berserk when she dies and seeks help from a scientist to bring her back from the dead.

Vida/Perra is the first feature-length film of Aguirre's "Anticine" and the first monologue in movie history. Aguirre's wife, Esperanza Roy, is the actress of this piece of visual art made as an adaptation of Ángel Vázquez's novel, whose texts are read by Esperanza "as they are." This means, the text have been extracted from the novel without changing their words.

Four women spending the night in a deserted sanitarium on a mountain fall into the hands of an evil doctor with a terrible secret.

Raquel's not able to have children, so she and her boyfriend manipulate another young woman into bearing his child.

The film chronicles the life and marital problems of a couple, through the vision of his two sons, four and eight years old and how, despite their young age, they understand the marital problems.

"The film as a whole tries to ensure that the image has no sound and the sound has no image so that the viewer is the one who re-elaborates in his mind the fusion of both." Javier Aguirre

"Flights…One of the most import ports in Spain. People… Antxo, Donibane, San Pedro. Homes with tradition, parties, streets, port workers, women salting fish, mending fishing nets…" Javier Aguirre

In the sixties, just before starting his career as a feature film director and his parallel career of the Anticine, Javier Aguirre had a brief career as a documentary filmmaker, which served him to test and rehearse many procedures that he would put into practice in the avant-garde aspect of his work. The trail belongs to that period, a few years full of mystery, but whose works are emerging demonstrating the portentous gaze of Aguirre. The trace has hardly been seen in the last sixty years, and it is an opportunity to recover this vision between anthropology and the vanguard of one of the hallmarks of this city. The film has been restored by the ECAM Archive in collaboration with Filmoteca Española.