Víctor Manuel: el abuelo Víctor

Broken Poet is a compelling investigation into the meaning of success, rock stardom and even freedom itself which, as Janis Joplin sang, is just another word for nothing left to lose.

Javier Espada explores how Luis Buñuel, one of the greatest precursors of surrealist cinema through works like An Andalusian Dog and The Golden Age, began to move away from this movement but never completely abandoned it, maintaining a strong oneiric element in his films. Taking us deep into his past and evolution as a creator, this documentary provides an unprecedented window into the world and work of an irreplaceable genius whose influence has reached the rest of the arts.

Bernarda is a loose adaptation of the play La casa de Bernarda Alba by Federico García Lorca . Five women are kidnapped and locked in a strange factory and forced to work as prostitutes.

Using expert interviews and historical research, this documentary seeks to solve the mysterious assassination of Spanish poet Federico García Lorca.

From a non-mythical perspective, The Disciple presents with high production value, the life of Jesus from a daring new angle, a human, without divinity, fallible and worrying disciple of God and the People on very real ground.

Many immigrants, when they arrived in Spain, thought they had found paradise, soon thwarted all their dreams of prosperity. Many of them then decided to return to their land, but not so simple. In a pension match various immigrants end up discovering that deportation is the only way to return to his country.

Acclaimed flamenco choreographer and dancer Fuensanta La Moneta is working on a new show when one of her students gives her a copy of Félix Grande’s poetry collection La cabellera de la Shoá. Written by Grande after his visit to Auschwitz, Fuensanta can’t stop thinking about those women —Jewish and Gypsy alike— who lost their lives in the concentration camp. The poems inspire her to create a piece that remembers these women through music, dance and poetry.

Film director Juan Bravo is in a deep, existential funk: his latest film has been vilified by critics, and his friends, relatives and even business associates are wasting no time in badmouthing him. He seeks refuge in the city of Oviedo, Asturias, wandering the empty streets at night, going to parties that are veritable circuses full of wannabes, and attending concerts and religious and traditional ceremonies as he seeks inspiration for his next film. He reminisces about his childhood but, most importantly, that strange woman who asked him to visit her at her apartment at precisely 10 p.m., not one minute more, nor one minute less.