Paco Lucio

In 1940, in the immediate aftermath of the Spanish Civil War, a young girl living on the Castilian plain is haunted after attending a screening of James Whale's 1931 film Frankenstein and hearing from her sister that the monster is not dead, instead existing as a spirit inhabiting a nearby barn.

In a town near Salamanca, an eccentric widower, aged 60, is captivated by an imp, a precocious 13 year old. Alejandro is wealthy and alone, passing time with music, chess, and his shotgun. Gregoria (Goyita) the daughter of a weak-willed policeman and his bullying wife, is a budding naturalist who conspires to meet Alejandro. Even though he knows the village is talking, Alejandro spends time with Goyita, on walks, horseback rides, and dinners. He's enchanted and tells his friend the village priest that he's living for the first time. Goyita makes new demands on Alejandro, and he must decide how to be true to his ethics and to this Platonic yet highly-charged relationship.

Ana, an eight-year-old girl living in Madrid with her grandmother and two sisters, mourns the death of her mother.

No description available.

A woman recalls her childhood growing up in the North of Spain, focusing on her relationship with her father.

When the single middle-aged Luis travels from Barcelona to bury the remains of his mother in the vault of his family in Segovia, he is lodged by his aunt Pilar in her old house where he spent his summer of 1936 with her. He meets his cousin Angelica, who was his first love, living on the first floor with her husband and daughter, and he recalls his childhood in times of the Spanish Civil War entwined with the present.

A group of Africans clandestinely reaches the coast of southern Spain. Among them is Alou, a 28 years old Senegalese. As all his belongings are stolen while in Almsería, he has no choice but to engage in street vending. His only pleasure are the letters he writes to his family to tell the vicissitudes of his Spanish adventure.

A drama teacher casts a woman in a play about torture, and the two eventually become lovers. As production of the play develops, the director begins to receive threatening letters.

This film is a documentary about the poet Leopoldo Panero. His widow and his sons talk about death in general in this special case, and also about their own family problems.

A small family of travelers arrives after a long journey at a village hut, which they claim as home. The family consists of Damian, a mute but skilled hunter, his wife Priscila, and their two children, a mute son named Pablo and a beautiful daughter named Agueda. Before long, Don Rodrigo, the feudal lord of the village, sets his sights on both Priscila and Agueda.

No description available.

The depth of bonding between young Santiago (Juan Diego Botto) and his dying grandfather, as well as his grandfather's foreman Teo, underlies this interesting drama. After Santiago and his family arrive at his grandfather's farm, the elderly gentleman dies but not before telling his grandson a secret. On the one hand, Santiago is the heir to his grandfather's farm, and on the other, he may just have a special relationship to Teo (Alvaro de Luna), his grandfather's foreman. The little boy has a few playmates in his cousins who live on the farm with their parents, and he follows his idol Teo around with a child's admiration for his strength and unique personality. But when tragedy steps into the picture, Santiago's faith in Teo is put to the test.