Víctor Erice – Abbas Kiarostami: Correspondences

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.

A woman recalls her childhood growing up in the North of Spain, focusing on her relationship with her father.

Filmmaker Victor Erice follows Spanish artist Antonio Lopez in his painstaking attempt to paint the image of a tree.

Years after his mysterious disappearance, Julio Arenas, a famous Spanish actor, is back in the news thanks to a television program.

1940. In a rural home in northern Spain life goes on, slowly. But a blood stain on a newborn might have some deep meanings.

Ten Minutes Older is a 2002 film project consisting of two compilation feature films entitled The Trumpet and The Cello. The project was conceived by the producer Nicolas McClintock as a reflection on the theme of time at the turn of the Millennium. Fifteen celebrated film-makers were invited to create their own vision of what time means in ten minutes of film.

Spanish filmmaker Víctor Erice talks about the first movie he probably ever saw, Roy William Neill's The Scarlet Claw (1944), starring Basil Rathbone as Sherlock Holmes. The remembrances of such a formative cinematic experience leads him to recall the dark days after the end of the Spanish Civil War, to confess the many fears stalking children and to reflect on the nature of memory itself.

In memory of the Japanese earthquake on 3.11, each director presents a 3 minute and 11 second short film in tribute to those who were lost that day.

A married woman living in France returns to Madrid to bury her father.

Four voices and their visions of Guimarães, cradle city of the Portuguese nation and European Capital of Culture in 2012.

Part of the collective feature film 3.11 Sense of Home

The boredom of a young middle-class woman at home a Sunday afternoon. Not to be confused with Carlos Saura's short of the same name produced in 1957.

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.

Greek Theo Angelopoulos traveling from Athens to Ostia, the Roman beach where Pasolini was killed. Far from there, in a Spanish train station, Víctor Erice wanders in an interview about the film resistance. And in Italy, Tonino Guerra, Ninetto Davoli and Nico Naldini lend his voice to the missing Passolini to close a historic triangle on film and solitude.

Filmed in 1963, but not released in Spain until 1967, the film depicts the failed romance between a bourgeois French tourist girl and a Spanish working class boy.

Isabel returns to Spain, after several years of absence, to be cured of a neurosis. His daughter Ana, whom he has not seen in all this time, decides to spend the holidays with her, taking advantage of the fact that her boyfriend has gone to study in Germany. During her stay in the sanatorium, Ana meets Mario, an attractive young man somewhat unbalanced, who tries to seduce her. Although at first she does not show any interest, little by little she becomes attracted to him.