Juan Barrero

A dauntless film director, an enfant terrible in his early days, confrontational with censorship, always pushing the boundaries of freedom of expression, chronicler of the darkest corners of the transition, De la Iglesia will fall into the clutches of drug addiction, being forgotten and sometimes repudiated for more than a decade before eventually shaking off the ostracism to make films once again, that habit he could never kick.

What was the role of women in Spanish cinema from the 1930s to the present explained through fragments of different films, both fiction and non-fiction. (Followed by “Manda huevos,” 2016.)

Not every day you have the chance of fulfilling a dream: making a heist film.

Bordeaux, France, 1828. Spanish painter Francisco de Goya y Lucientes dies in his French exile on April 16th and is buried in the local cemetery. Nobody, not even his only living son, Javier, claims his body. In 1888, after years of paperwork, the Spanish consul Pereyra finally obtains permission to exhume Goya's remains with the purpose to bury them in Spain. When the crypt is opened, the gravediggers make a discovery as macabre as it is stunning…

In her own words, over the years, Almudena Grandes shared her way of seeing the world, understanding life, and approaching writing. But Almudena is no longer here. The aim of this film is to keep her memory alive: to celebrate her life and work without forgetting the painful void left by her passing. Luis García Montero, her husband, steps into that void and, in doing so, completes the intimate portrait of a writer who, like few others, has been able to tell the story of our lives.

Before embarking on a long scientific expedition to the Pacific, Juan takes his girlfriend Gala to the town where he spent his childhood. During the visit, the couple talk about future plans and deep differences emerge. Five months later, when John returns home, he discovers that his life is about to change forever

In 2017, Andoni Canela, a National Geographic photographer, embarks on a journey with his son Unai in search of the world's big cats.

No description available.

The death of a father and a chilling encounter deep in Panama’s untamed jungle trigger a personal exploration of life and death through encounters with a diverse collection of people who face mortality’s physical and symbolic borders in their life and work.

Emma reviews old tapes on VHS, which show faded family memories of those distant 80s, when she was still a child. While recalling the trips to the coast and the children's laughter, she tries to recompose pieces of a story that he never fully understood, joining the pieces of a forgotten puzzle to discover that things were not what they seemed.

Jenifer is adopted, lives in Spain and has been searching her entire life for her biological mother, whom she only knows was separated after the eruption of Nevado del Ruiz in Colombia. When she turns thirty, she intensifies her investigations, which leads her to meet a mother who denies being one, several who were not allowed to be one, and other people who claim to know her.

The documentary helps us rediscover the life and figure of the Basque sculptor through testimonies from those closest to him: his children, friends, and family. From a biographical point of view, the documentary takes as its starting point the sculptor's adolescence, a time when his life was transformed by a sports injury that forced him to change course. From a poetic perspective, Juan Barrero tells us how Chillida came to achieve the full meaning of life and how we can still appreciate this in his work, a consistency that began in his early days with iron metallurgy and ended with international recognition.