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El indulto

Spain, 1906: in a small village and pregnant after having been raped, Antonia is forced to marry the brutal Lucas to save her honor. But the mother of the girl pays Lucas 20,000 reales so that the man will never get any closer to Antonia or the child to be born. The man's bad temper will take him to jail and Antonia will try to remake his life with Pedro, Luca's brother. However, despite how far they may go, the couple are distressed at the prospect of Lucas being pardoned and seeking them after leaving prison.

El indulto

5.4 1960
El halcón de Castilla

Adventure film of Spanish production that follows point by point the parameters set by other literary characters, such as "El Zorro" or "El Coyote". José María Elorrieta, director with extensive experience in western spaghetti, is in charge of the direction and the script, in this film starring a gallant who was fervid among the female audience, Germán Cobos ("La patrulla", "La vida es maravillosa"). Shot on a small budget and with no other pretense than to entertain, "El falcón de Castilla" had considerable box office success.

El halcón de Castilla

6.0 1967
La paz empieza nunca

Inspired by the classic novel by journalist and writer Emilio Romero. Shortly before the outbreak of the Spanish Civil War (1936-1939), a group of Phalangist friends, who dream of a revolution to transform Spain, are dedicated to spreading their ideas among the population. As war begins, one of them, Lopez, is about to be shot, but is saved by a Republican. Then he joins the national side. After the war, an old comrade encourages him to involve in an operation to destroy the maquis of Asturias. Although he is married and has children, he accepts the proposal, infiltrates among the guerrillas and convinces them that he will provide weapons to continue fighting.

La paz empieza nunca

6.5 1960
Circles

The geometry of circles and ellipses is explored using the Roman Colosseum as an example. Using the Pantheon as another practical example, this program explores the concepts of central and intercepted angles, arc segments and chords. The Etude du Cinéma de l’Ecole de Barcelona (a short-lived group that appeared in Spain in the 1960s) offers the opportunity to consider the distrust of the avant-gardes with regard to narrative. The lacunar narration whose principle the School of Barcelona adopts goes against the traditional narrative and its quest for coherence and continuity. She invites the viewer to make the disconcerting experience of unbinding and emptiness. Such an approach involves an ethical posture. The Barcelona School follows in the footsteps of a modernity that intends to move away from an alienating authoritarian discourse and claims to make the spectator a partner in creation.

Circles

8.5 1966