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After the Deluge

Patricia (Mijanou Bardot) is a wealthy party girl who is bored with her jet-set lifestyle and friends. She gets in her car and drives off into the mountains in search of a new thrill. When two men wreck and burn her car, she joins them in their mountaineering life. She sleeps with one man, but jealousy ensues and she leaves for swinging London town with the other man. Eventually the men end up back in the mountains as the profoundly disturbed Patricia packs a loaded gun and goes after them both.

After the Deluge

6.6 1968
A Winter in Mallorca

The cigar-smoking French writer, George Sand (Lucia Bose) and her lover, the composer-pianist Chopin (Christopher Sandford) have rented a former monastery in Mallorca as a winter retreat. They have even shipped a piano to the site, so that Chopin can continue his work. However, what promised to be a warm, sunny vacation turns sour as the locals disapprove of Sand, the servants are surly and mysterious, and the monastery is cold. She has her revenge, however. She wrote the book A Winter in Mallorca about her miserable winter retreat. This film follows that book closely, with concern for historical accuracy, which did not increase the Spanish filmmakers' popularity with their countrymen.

A Winter in Mallorca

6.0 1969
Una vez al año ser hippy no hace daño

The musical group "Flor de Lis y los Dos del Orinoco" tours the fairs of the towns with their repertoire of old melodies. They arrive in Torremolinos and settle in a camping site. There they meet Johny, a cheeky "go-go boy" who lives off the land and, if possible, from foreigners. He joins them and turns them into a beat band. They dress like hippies and sing in English. Their new stage name is "Los Hippy-Loyas", and they present themselves to the public as a pop group from Liverpool. Their new life leads them to the most unusual adventures.

Una vez al año ser hippy no hace daño

6.0 1969
Hermógenes Cayo (Imaginero)

IMAGINERO is an ethnobiography of Hermogenes Cayo, a self-taught woodcarver and painter who lives on the high Andean plateau of Argentina. The film portrays Hermogenes, his wife Aurelia Kilpe, and their children in their Andean lifestyle, as well as Hermogenes' passion for painting, carving, building, and his devotion to the Virgin Mary. Devout, austere and dedicated to craftsmanship, he can make anything from religious figures carved from cactus wood to a working harmonium. Inspired by a trip to Buenos Aires to advocate for land rights, Hermogenes has labored to replicate the style of the capital's grand cathedral and shrine to the Virgin with resourcefulness and skill.

Hermógenes Cayo (Imaginero)

7.8 1969
Aidez l'Espagne

The Colegio de Arquitectos de Catalunya commissioned Pere Portabella to make this film for the Joan Miró retrospective exhibit in 1969. There were heated discussions on whether it would be prudent to screen the film during the exhibit. Portabella took the following stance: "either both films are screened or they don't screen any" and, finally, both Miro l'Altre and Aidez l'Espagne were shown. The film was made by combining newsreels and film material from the Spanish Civil War with prints by Miró from the series "Barcelona" (1939-1944). The film ends with the painter's "pochoir" known as Aidez l'Espagne.

Aidez l'Espagne

6.4 1969
Yo he visto a la muerte

Four real episodes told by their protagonists: Antonio Mejías "Bienvenida" tells the serious goring he suffered in the Plaza de Las Ventas and his recovery process. Álvaro Domecq Romero evokes the last days of the life of the mare "Splendid", the noble animal that was brave and sensitive companion of his father. Andrés Vázquez tells how the times of the "capeas" were in little villages. With him were many unknown kids, who found an anonymous and obscure death. Finally, Luis Miguel "Dominguín", who was with Manolete, in Linares, the afternoon in which he met his death, evokes that tragic afternoon and glosses the bullfighter's human virtues. The four protagonists have seen the death in one way or another and the four tell the indelible impression that remained on them.

Yo he visto a la muerte

5.7 1967