David Thomson

Curro Jiménez was a successful Spanish TV series that aired on TVE1 from 22 December 1976 to 1979. Its main theme was Andalusian "bandolerismo" in the 19th century, located in the Ronda mountains. The main characters were four bandits, Curro Jiménez

An account of the life and work of American film director Sam Peckinpah (1925-84), a tortured artist whose genius and inner demons changed the Western genre forever.

Matias meets Violeta, his cousin one morning in Madrid at the Plaza de Opera. He is twenty-five. She is 18. He's a divorced journalist trying to write a thriller. She studies violin. She's a vegetarian. He loves meat. Many things separate them, but he moves into her apartment.

A Confederate and his sons become postwar marauders and face another son who left them, in Texas.

Robber Roy King loses his wife, Alicia, to revolutionary Montero. Despite their rivalry they collaborate in an attempt to rob the Mexican government of one million dollars.

A superstitious servant girl - who has foreboding nightmares about a naked man on horseback - comes to live with a solitary female artist at her country chateau. As the artist takes the girl under her wing, a sensuous relationship develops between them.

Toni is a seventeen year old young man who comes to Madrid from a little village in search of work. A friend from the same village of Toni puts him in touch with Charo, "La Corea", a mature woman dedicated to facilitating contacts and boys to American men at the military base of Torrejón.

After a peaceful sailboat ride, four young people, including rich kid Bill, Joe, Fred and Jane, knock on the door of a secluded villa after their dune buggy runs out of gas. Earlier in the day, Bill had given the lovely Jane a pearl necklace with a supposedly paranormal history, and this later opens up a can of worms. They are invited to spend the night at the mansion, owned by Lord Alexander and Lady Alexander, who happen to be hosting a strange ceremony that night attended by a group of eccentrics in black robes. During the evening, Jane exits her sleep chamber, seemingly in some kind of trance, and is lured to a sacrificial alter where the robed houseguests are hovering over her. As a knife is about to be plunged into the young lady, her three friends come to the rescue, but they are also witness to a chaotic mass murder catastrophe in which they flee with feelings of guilt and uncertainty.

Gunslinger Clayton Drumm is about to be hanged when he is given a chance to live if he agrees to murder Matthew, a miner who has steadfastly refused to sell his land to the railroad company. Matthew’s refusal is a major obstacle to the railroad’s plans for expansion.

A group of retired soldiers return from the Civil War to Texas, where they are no longer tolerated by the women who have become independent because of their unsuitability. The failed partnership ends in murder by poison and flight. One exception is a young woman who leaves the phalanx of women out of love. The comedy, disguised as an idyll, refers in many ways to classic models in the genre of the western and the home movie.

An hour-long documentary designed to celebrate the spirit of the independent filmmaker from D.W. Griffith to Quentin Tarantino. Interview footage and film clips are blended together to form a chronological approach to the subject matter.

The fictionalized story of Joaquin Murrieta, a real life Mexican bandit who terrorized California with his gang of raiders and cutthroats during the first half of the 19th century. Some saw him as a murderous outlaw, others as the Mexican Robin Hood.

Potato Fritz and his friends have moved from Germany to the American Wild West, settling eventually in the Rockies. They are besieged by what appear to them to be hostile Native Americans. Before too long, it becomes clear that the hostiles are in fact a gang of gold thieves. This movie is notable among German-made Westerns for its use of authentic period costumes and firearms.

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Secondary maps two different narratives onto each other, using movement as the formal through-line. The first describes the complex overlay of violence and spectacle inherent in American football, and more broadly within American culture. Barney’s personal involvement in the sport served as a starting point for the development of this project. The extreme physical and psychological conditions of the game have been abstracted in Barney’s art practice since his earliest work, and now provide a context for this subject that is both retrospective and a new, direct engagement.

Luisa's daughter attempted suicide. While attending the clinic and, contemplating the state of his daughter, Luisa recalls the early happy years of her marriage to Pedro, a popular and friendly sports journalist. Soon after came the first deception of her husband.