Luis García Berlanga

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Barcelona 1967. The pop culture revolution. Jordi (Patrick Bauchau) is a rich playboy who runs around with a bunch of high-end hippies, smoking, drinking, dancing and daydreaming about Tuset Street, an effort to develop a popular street in the newer section of Barcelona after the models of Haight Ashbury Street in San Francisco and Carnaby Street in London. Jordi and his gang represent the new Barcelona, wealthy, artificial and striving for imported sophistication. On the older side of the city is El Paralelo, the theater district. At El Molino, one of its many music halls, performs Violeta (Sara Montiel), a showgirl in the old style tradition who supplements her singing income with prostitution. Somehow Violeta represents the old values, the "real world" living along side an artificial creation such as Tuset.

Spain, 1977. The first general elections are about to take place after the long dictatorship and the progressive environment of Madrid is easily palpable. Protagonists, Carmen and Juan were once married and now living separately, both have a child. It's one of the only reasons they maintain cordial to one another. Their separation, the political context and the contradictions of the progressives of the time will not defeat the affinity between the two.

The early days of the future genius of Spanish cinema Luis García Berlanga, from his birth in Valencia in 1921 to his departure to Madrid in 1947 to become a filmmaker.

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A young man who likes the good life and easy money gets a proposition to represent a shady business company in Europe.

This excellent short film written by the magnificent filmmaker duo of Luis García Berlanga and screenwriter Rafael Azcona was to be part of a series entitled Los Pícaros (The Rogues) which was never continued. These two artists were responsible for such masterpieces of Spanish cinema as Plácido and El verdugo (The Executioner). Here, Berlanga and Azcona collaborated for the first time, setting the stage for the post-war "Berlanguiana" vision that would develop. José Luis López Vázquez plays Julián, a seedy swindler, who with his cronies tries to sell a streetcar to a rich but naive farmer, a newcomer to the city. High jinx ensue. With this film begins the great stage of Berlanga's filmmaking in which he mixes a little social criticism and notes of anti-clericalism with a great deal of farce.

Lucas, shy and repressed, and sanctimonious Enriqueta are parents of nine children, so he decide to convince her to take the contraceptive pill.

A set of nine stories whose central theme is eroticism. The different directors of the film deal from philosophical aspects to others that are almost pornographic, but always with a common denominator: sensuality.

Ricardo is an executive who has great success with women and behaves almost like a play-boy. His wife Carmen, an attractive housewife without children, feels ignored by him and seeks solace from her mother, who proposes Carmen a change in the way she acts in order to not permanently lose her husband or fall into madness.

Initially a made-to-order documentary on Spain, the film becomes an open-ended work-in-the-making about the creative process. “Settling in the Spanish capital to make a documentary, Hanoun sketches out for us the different steps involved in making a film. The author turns his hesitations, his doubts and difficult working conditions into the constituents of his work”. (Raphaël Bassan)

Carmen leaves her husband Julio to go live with an intellectual who has made a career in the United States. While, Julio goes away to live of rent to house of an aristocrat come to less. After meeting several colorful characters, Julio decides to recover Carmen.

Natalia, a successful painter, and Hugo, a writer in a creative rut, are going through a rough patch in their relationship. After Hugo moves out in an attempt to finish his novel, Natalia is determined to do whatever it takes to reunite with him.

How the cinema industry does not respect the author's work as it was conceived, how manipulates the motion pictures in order to make them easier to watch by an undemanding audience or even how mutilates them to adapt the original formats and runtimes to the restrictive frame of the television screen and the abusive requirements of advertising. (Followed by “Filmmakers in Action.”)

In the Easter holidays of 1967, three friends come to Torremolinos willing to flirt and experience strong emotions. Contact with a new environment, in which while some find the lies that hide behind the luxury and splendor and dangers that accompany life easier, others find true love.

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A walk through the work of Luis García Berlanga (1921-2010) that is neither a documentary nor a narrative movie, but a tribute to one of the greatest directors of Spanish cinema. Anything can happen: the performers are not themselves, but their characters; there are no interviews, but greetings; a series of entrances and exits. A joyful reunion, a celebration of life.

The story of Enrique Herreros (1903-1977), cartoonist, advertiser, poster designer, talent manager, actor, producer and filmmaker, and the most daring of mountaineers; the man who, along with his companions from the so-called “other Generation of '27,” brought Hollywood to Madrid's Gran Vía, turning a grey and sinister post-war city into the capital of an incipient and ambitious cultural industry.