¡Ay, Carmen!

She appeared when Spain was waking up from a long post-war period and crying with melodramas starring children, a child prodigy unlike any other; a girl who, in time, would become a symbol of freedom and a total artist. Actress, singer, friend, lover. This is the story of Ana Belén.

Adaptation of Ernesto Sábato's work, directed by José Luis Cuerda Juan Pablo Castel, a moderately famous painter, visits Larrea's office to tell him how he met María Iribarne at a painting exhibition. He recounts why he followed her upon realizing she understood his painting, and why he killed her after months of searching, finally establishing contact with her and experiencing a passionate and tumultuous love affair.

A conspirator? A man with his own ideas, obstinate in making them come true? An arm-wrestler? The greatest mocker of Franco's censorship? Someone determined to change the world by putting a mirror in front of it? A schemer? The most important name in the history of Spanish cinema?.... For some, he is the prototype producer, guilty of the existence of many excellent films, discoverer of directors like Erice, Saura, Chávarri, Gutiérrez Aragón, Armendáriz, Ricardo Franco, Martínez Lázaro, Gracia Querejeta, Fernando León? For others, the cause of some of the most passionate controversies of our cinema. Elías Querejeta, a different look, a different cinema.

A walk through the golden age of Spanish exploitation cinema, from the sixties to the eighties; a low-budget cinema and great popular acceptance that exploited cinematographic fashions: westerns, horror movies, erotic comedies and thrillers about petty criminals.

Orense, Spain, 1940, just after the end of the Civil War. Every time Elena locks the door of her home, she and her children become the faithful guardians of a sacred secret: Ricardo, her husband, their father, hides in the house, trying to avoid the brutal political persecution of the victors, who hunt, as if they were wild animals, and imprison or execute, those who have lost the bloody and tragic struggle…

The imaginary city of Vetusta, a symbol of anachronistic and oppressive traditions, is the realm of hypocrisy and intolerance that makes Ana Ozores’s life unbearable and inevitably tragic.

Pedro Liniers, a literature teacher, comes back to Madrid after his wife has just left him. Meanwhile, Aurora Villalba, came to Spain from Argentina, running away from the militaries, she has a special way of living her own way. Pedro wants to get back the job as a teacher through an old friend, Bruno Baena, who is the head master of the school. Aurora starts going to Pedro's classes. Pedro will become "El hombre de moda", very soon.

Journalist Paloma Chamorro symbolized openness and modernity in Spain in the early 1980s. Her personality and her shows on TVE (then the only TV channel in the country) made her an influential transgressive icon.

The imaginary city of Vetusta, a symbol of anachronistic and oppressive traditions, is the realm of hypocrisy and intolerance that makes Ana Ozores's life unbearable and inevitably tragic.

In 1972, the American film director Howard Hawks travelled to San Sebastian to preside over the jury of the Film Festival. Two young film buffs, Jesús Martínez León and José Luis Cuerda, came from Madrid in the hope of interviewing him. After thirty years of life and films we recover that unpublished interview.