Pasajes tres

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.

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.

In 1916, while Europe was in the middle of First World War and Spain was enjoying the advantages of being a neutral country, eroticism was called voluptuousness and Senator Duke of Daroca, despite his ancient lineage, fell completely in love with a famous cabaret singer, Rosario "La Criollita", which was a scandal. At that time, it was doubted that decent women had legs - But this mystery was resolved a decade later, when the roaring twenties arrived and, with them, the sensual Lupe Cardoso

The day of his wedding, Carlos recibes the most unexpected present he coud receive, a son. Carlitos, makes the weadding a complete disaster and fails to place. Carlos to solve the misunderstanding, decides to follow the boy home to meet his mother and to find out what is going on. This will bring him more than one surprise.

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.

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.

"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

Vizcaya seen from four different points of view: the sea, the countryside, the industry and the landscape. Each of the aspects is treated plastic and dynamically in a different way: black and white, sepia, negative and color. Music also establishes four different modalities.