Mario Cabré

A former convict, named Raul Vela, and a cabaret singer, called Clara, are a couple who tries to lead a normal life. He has found an employment and she wants to leave the cabaret. One day an old chief, who wants to disappear, proposes him to justify his supposed death in a supposed accident. In exchange, Raúl will receive one hundred thousand pesetas as gratification. Raul refuses to engage in the deception. Shortly after, he reads in a newspaper about the death of Cervera, which makes the police relate him to the case.

Pandora Reynolds is a woman who has never fallen in love – but one who men kill and die for. When she meets dashing and mysterious ship's captain Hendrik van der Zee, he pushes her to commit the ultimate act of love.

A woman robs the authoritarian boss of a criminal gang and then falls in love with a buddy.

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There is open hatred between the Balmer and Lafuente families. The daughter of one of them attempts reconciliation, but love affairs, fights, and murders fueled by jealousy follow one after another....

Blanquita, a very superstitious Cuban young woman, visits a fortune teller on the eve of her wedding to Roberto. She predicts that her first husband is destined to die, as well as would not make her happy. Believing this and according to her uncle, Blanquita starts looking for a man about to die, with the intention to marry him, then become widower and take Roberto as her second husband, thus freeing him from the curse.

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An outsider seduces and deceives a small-town girl, taking advantage of her innocence, in order to kill her mother.

Spanish bullfighter and a Mexican one have a friendly rivalry spanning decades.

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Pere Portabella’s first work as a director starts with the following phrase: “defeated…but not conquered”. This may or should be taken as an allusion to the technical K.O. taken by Portabella from Franco’s regime during the sixties as regards his work as a producer. Through the extremely raging playthings of the words of Catalan poet Joan Brossa, Portabella attempts to dismantle the forms of advertising discourse of that time.

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Portabella’s first feature, co-scripted by poet Joan Brossa, became one of the most influential works of the Barcelona avant-garde, although like all his early films, it circulated only in an underground fashion. Eschewing dialogue, the director constructs a non-narrative story in fragments that reveal the daily lives of an adulterous couple interspersed with a cryptic stream of unrelated imagery. The title of this homage to directors including Eisenstein, Antonioni, Bergman, and Buñuel refers to the 29 “black years” of the Franco dictatorship. — chicago.cervantes.es

When her father died, Dominique de Bellocombes inherited her ancestors' château, some worthless shares and a mine in Spain. To save the castle, which is in danger of falling into ruin, and pay off her debts, she is determined to marry Armand de Puysherbeux, whom she doesn't love, but who is rich. The situation changes abruptly, however, when news comes through that the Spanish mine holds a vein of untapped gold. Dominique leaves for Andalusia, abandoning her fiancé. Her fiancé, determined not to give up on the beautiful Dominique, precedes her to the site, destroys the plans and claims that the engineer is mad...

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