La fiesta no es para feos

Munich, birch forests, a secret. Above all, a movie dream.

After Franco's death in 1975, Spanish society experienced a period of hope and political struggle, as well as a remarkable change in social customs. Santamarca High School, in Madrid, faithfully embodied that time: it was at the forefront of student and anti-fascist struggles, hosted an intense cultural activity, and generated relationships between teachers and students that were unusual for today's times. Years later it also suffered the general evolution of the country, from militancy to hedonism.

Rosa’s calm existence is disrupted by the arrival of the charming adventurer Ivan. Blinded by unconditional and self-destructive love for him, she leaves everything behind to follow him to the end.

A Taylor comes to town looking for top-quality leather. From his apartment window, he watches the comings and goings of the other inhabitants. He grows obsessed with a woman who is also desired by the rich, powerful owner of the building. The rivalry between the two men leads to a series of events culminating in a dramatic ending.

A sequel to País de todo a 100 (Country of Everything at 100).

Toño works as a local policeman in his town. He is clumsy and his neighbors laugh at him, so he asks his old teacher at the academy for help. What he finds is a town full of tensions, with a day laborers' strike that doesn't help.

Arturo is a music enthusiast, although his skills as a guitarist are lesser. Urgently incorporated into a band, he is soon fired, although he will remain linked to it as a manager... or so he thinks. As the band grows in popularity, his link with it will diminish.

The flash of socialism that once lit Spain.

In the summer of 1996 Pablo Llorca did a long interview with Guillermo Pérez Villalta on the subject of water and the Mediterranean. They were five hours of recording, faded away immediately due to humidity problems and that had never been seen before. Recovered twenty-five years later, this is the result, where the painter's words are matched by images chosen by the filmmaker, in a descriptive relationship as well as a complementary reading.