Spanish cinema under Franco

Edgar Neville – Domingo de carnaval AKA Carnival Sunday (1945)

The same morning that carnival begins, a serene finds in Madrid the corpse of a rich and greedy lender who has been murdered. The main suspect is a seller of watches that owed much money ​​to the old woman, but her daughter, not content with the arrest of his father, begins to investigate on their own … Read More »

Eloy de la Iglesia – La semana del asesino AKA The Cannibal Man (1972)

A young man, Marco, working as a butcher, accidentally kills a taxi driver. His girlfriend Paula wants to go to the police so he has to kill her too. He then has to kill his brother, his brother’s fiancée and his father, who have become suspicious. He gets rid of the bodies by taking them to a slaughterhouse. Read More »

Juan Antonio Bardem – Muerte de un ciclista AKA Death of a Cyclist (1955)

Synopsis:
A couple traveling through the countryside strike a man on a bicycle. When they get out of their car to examine him, they find that he is injured but not dead. But instead of helping the man, Juan (Alberto Closas) and Maria Jose (Lucia Bosé) do the unthinkable. They flee – rather than reveal that they have been carrying on a long-term affair.

When they return to Madrid, the couple pay a terrible price for their deception. Guilt begins to gnaw away at them, especially at Juan, who is also experiencing conflict with his young students over an ethical issue at the university where he teaches… Read More »

Eloy de la Iglesia – Nadie oyó gritar AKA No One Heard the Scream (1973)

“No One Heard the Scream” is another terrific Spanish horror film from the troubled director Eloy de la Iglesia. The film stars two of his strongest performers, Carmen Sevilla (from de la Iglesia’s “The Glass Ceiling”) and Vincente Parra (from de la Iglesia’s “Cannibal Man”), and so with these two tried-and-true leads it is hard for this film to fail. While it is not as overtly frightening as the other two aforementioned films, “No One Heard the Scream” definitely has its moments. Sevilla plays a professional mistress who bids farewell to her older lover when she meets the handsome man next door (Parra); unfortunately for Sevilla, Parra has just murdered his wife. Read More »

Eloy de la Iglesia – El techo de cristal aka The Glass Ceiling (1971)

Marta spends a few days alone while her husband is on a business trip. But she starts to get scared when she hears some mysterious steps every night on the top floor. Her neighbor will try to convince her that it is her husband’s footsteps when he returns from work, but Marta does not believe it and begins to investigate. Read More »

Jaime de Armiñán – Mi querida señorita AKA My dearest senorita (1972)

Synopsis
Miss Adela Castro (José Luis López Vázquez in a superb performance),a mature lady from the provincial Spanish bourgeoisie, has spent her life in solitude, sewing, playing the piano, attending charity meetings at the local church and meditating on her forced spinsterhood. Her partially unacknowledged attraction to females, together with her lack of desire for her fiance drives Adela to her confessor and then to a doctor. The diagnosis is unambiguous: she is a man. Adela, now Juan, is then forced to confront both a prejudiced society and himself. Jaime Armiñán directed My Dearest Señorita in a context of profound social transition in Spain. Read More »

Miguel Picazo – La tía Tula AKA Aunt Tula (1964)

Quote:
Tula, the titular aunt is raising the children of her recently-deceased sister, alongside her brother-in-law Ramiro. She is austere and somewhat bossy, but the kids accept her as the replacement for their mother. Ramiro struggles being cooped up with her in their chaste relationship -he suggests they become man and wife, scandalizing Tula. But amid an atmosphere of Catholic hypocrisy -her priest recommends she marries Ramiro and never deems to criticize his unwanted advances to her- and unspoken patriarchy (her female peers all see marriage as their goal in life) she begins to wilt -only, too slowly for the lusty Ramiro, who matter-of-factly precipitates a devastating conclusion to their arrangement. Read More »