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Cristo

Cristo is the first feature film directed and produced by Margarita Alexandre and Rafael Torrecilla. Evoking the work of Luciano Emmer, this art documentary tells the story of the life of Jesus using only Spanish paintings. In close harmony with the montage, the photographic technique used by Juan Mariné for the filming gives movement to the paintings by Titian, El Greco and Rubens, while the presence of the voices of Fernando Rey, José María Seoane, María Jesús Valdés and other actors of the period give the characters a sense of entity. The film received the category of National Interest from the Censorship Board, undoubtedly more inspired by the film’s exaltation of the national artistic heritage and its religious subject matter than by its artistic aspirations.

Cristo

10.0 1954
Serenade to the Executioner

Schomberg, an enigmatic psychiatrist runs a nursing home. He is forced to close his clinic and disappear to escape the police. But he wants revenge on his wife's lover, Didier Laurent, a former RAF fighter pilot. Didier meets a young trapeze artist, Paula, with whom he falls in love. The happiness of the two young people is disturbed by the assassination of Irene, strangled by Schomberg who casts suspicion on Didier. Fortunately for them Commissioner Ulysses knows the truth and forces Schomberg to commit suicide.

Serenade to the Executioner

7.0 1951
A Place in the Team

People will always need transport and transport will always need people. Addressed particularly to boys of school-leaving age and to young men completing their period of military service, this film shows some of the wide variety of careers which British Transport has to offer, whether in railways or in the docks, on the orads or on Britain's inland waterways. The good transport worker combines individual initiative with teamwork, and the work of the transport team is vital to the nation.

A Place in the Team

NR 1953
Tilman Riemenschneider

The important German wood sculptor Tilman Riemenschneider (born around 1460) is considered to be artistically and socially established. He was a councillor in Würzburg and held several offices. In his works and in the way he conducted his office, he showed himself to be connected to the common people, who revered him. But he also had a patron in the art-loving Prince-Bishop Konrad von Thüngen. But when the peasants' uprising spread to Würzburg in 1525, Riemenschneider stood up for the rights of the peasants and opposed the use of soldiers, Thüngen became his bitter opponent. Although he initially flees from the superior forces, he returns after the uprising has been suppressed and imprisons Riemenschneider. Weeks later, he is released from prison. His hands were broken, but not his steadfastness.

Tilman Riemenschneider

7.0 1958
No Exit

In a locked room with forever burning light, a man and two women meet after their death: Garcin has tormented his wife to death and failed cowardly in a crucial situation. The lesbian Ines has alienated a young woman from her husband, the woman has poisoned herself and Ines with gas. Estelle has murdered her child and drove the lover to death. These three sleepless stew in a hell that consists not of fire, but of cosy sofa places where they have to sit forever and torment themselves forever. And they can't even kill themselves - they're already dead.

No Exit

9.0 1959