Third
MARCH 27/ APRIL 2 1987
NIEW YORK Third
SPAIN
IN NEW YORK
MARCH 27/APEIL 3 1987
THE GUILD 50»h ST. THEATER (ROCKEFELLER PLAZA) Puntual a la ata, un año más, el "Festival de Cine Español" se presenta en Nueva York, como una embajada de la cinematografía de nuestro país. Este año hemos ampliado hasta catorce el número de películas que se proyectarán. Catorce títulos de un año de producción, sobre un total de sesenta, constituyen, en mi opinión, una muestra muy representativa de la temporada cinematográfíca española 198&87. Una temporada que me atrevo a calificar de esperanzadora en el difícil pero interesante y personal camino que el cine español está recorriendo desde la instauración de la libertad creadora1. Un camino que no ha sido fácil de recorrer, y en el que nuestro cine ha emprendido la dura tarea de reencontrarse a sí mismo, abiertamente, decididamente, después de tantos años de ambigüedad, de falsas y tortuosas fórmulas. Pocas artes como la cinematografía son capaces de reflejar en forma tan puntual la idiosincrasia de un país, su problemática sociopolítica, su cultura. Yo espero que esta películas que hoy ofrecemos puedan acercarles a la imagen de una nación que intenta mostrar al mundo su capacidad creadora, sus valores artísticos, que, enraizados en el pasado, pretenden integrarse, con personalidad propia, en el conjunto universal de búsqueda de nuevas formas.
JAVIER SOLANA MADARIAGA Ministro de Cultura
IV Once again, for the third time in recent years, we are pleased to present the Festival of Films from Spain in Flew York, representing a kind of embassy of the motion picture industry from our country. This year, the number of films being shown has been increased to fourteen. Fourteen titles chosen from the harvest of a year's production —which included some sixty films in all— and which constitute, in my opinion, a very representative view of the 198&S7 out-put in Spain. A period which I will venture to classify as promising given the difficult but interesting and personal road which Spanish filmmaking has traveled down since the reconfirmation of creative liberty in this country. It is a journey which has not proved easy; one in which Spanish filmmakers have embarked upon the difficult task of an inward search to find themselves, in an open and determined manner, after years of suffering from ambiguities which have encompassed both false and torturous formulas. Cinematography is one of the few art forms which is able to impart an almost immediate reflection of the idiosyncrasies ofa country; of its socio-political problems and of its culture. It is my desire that the films being presented here can draw you a bit closer in understanding the images of a nation which hopes to demonstrate to the world its creative capacity; its artistic talents and worth. Artistic values which, rooted in the past are now attempting to become integrated, while maintaining their own personality, in the universal search for new forms of expression.
JAVIER SOLANA MADARIAGA Minister of Culture SPANISH MOVIES FOR THE WORLD
ust over ten years ago, the disappearance owever, the energic, generalized and of the fascist dictatorship —which had rapid manner with which this Jshackled free cultural expression in H environmental demand arose did not Spain for almost half a century— gave birth to inmediately find its complement —in a false illusion. At the time it was thought quantitative or qualitative terms— in the —based on ideas that were but a naive renderings which were expected to satisfy this deduction of a vehement desire— that with demand. Although, once the adaptation to a the breaking of the dams which had restrained democratic way of life was made, the Spanish liberty, a chain reaction would be produced, society requested a different form of resulting in a vast harvest of cultural products. moviemaking from its creators, this new mode Eespecially those "products" which had most of cinema stubbornly refused to appear on the suffered from the repressive machine of the scene. The Spanish people would be forced to francoist censure: theatre and, above all, wait several more years to discover that because of tis wide popular consumption, political change and cultural mutations do not cinema. always move at the same pace, and that the In effect, dating from 1976, political and urgent demand for a different kind of social events in Spain began to change at filmaking collided head-on with the dilatation, and even the sluggish rhythm of fable-making such an accelerated pace that the everyday life exhibited by the creators who must fulfill that of Spaniards was thrust into a torrential need. succession of events that in a very short period of time, turned domestic dynamism and the external appearance of life-styles on its ear. This upheaval encompassed both tastes and behavior —individual as well as collective— and resulted in a demand for new and different products: among them, movies.
VI A NEW HARVEST
t was only after a process which began oday, a decade later, we now have the between 1980 and 1982, that you could second fruits of this labor on the screen, I begin to see the first fruits on the Spanish T of which this festival offers but a limited silver screen of film endeavors that were selection, but which fully illustrates, by its undeniably rooted in the new democratic era thematic and stylistic diversity, the present bom in 1975. The incubation of the correlation established in Spain between the imagination of filmmakers with a different wide range of public tastes and the wide cinematic language combined with some new variety of sensitivities found in our active ~few, but decisive—political decisions, which filmmakers. made possible the production of films based The common denominators which could be on certain legal and economic positions in looked for in this present selection of recent accordance with the new physiognomy of the Spanish productions are scarce and even Spanish cultural market paved the way for a irrelevant However, it is precisely this lack of a group of films which, at long last, offered new common outlook, derived from the lack of a answers to a public in need of a new image. coherent school —though this may be only Directors such as Victor Erice (El Sur), Carlos symptomatic— which serves as an index of the Saura (Bodas de Sangre, Carmen), richness of possibilities which are opened at Francisco Regueiro (Padre Nuestro), Pilar present and, most importantly, for the future of Miro (El Crimen de Cuenca, Gary Cooper the Spanish motion picture industry. The Que Estas en Los Cielos), Pedro Almodovar absence of the traits of a school is more than (Pepi, Luci, Bom y Otras Chicas del compensated for in this selection by the Monton, One He Hecho Yo Para Merecer divergent yet powerful skills, demonstrated by Esto?), Manuel Gutierrez Aragon (Maravillas, the individuality of the creators. For example, Demonios en el Jar din), Luis Garcia the work of Femando Fernán Gómez and Berlanga (Escopeta NacionaL La Vaquilla), Pedro Almodovar, or the work of Armendáriz Jose Luis Gard (Voiver a Empezar), Imanol and Guitiérrez Aragón could be related to the Uribe (Puga de Segovia, La Muerte de exent that they stem from the same society Mikel), together with others, paved the way and collective set of situations. However, the toward the first harvest of pictures that could most outstanding quality is the pronounced truly be considered a reflection of the new diastance which distinguishes them; their Spanish democracy. works are fundamentally different as night and day. Their films are reciprocally irreconcilable and bearers, each of them, of opposing, contrasting images. And within the unity of contrast is found the waiting room for a proper voice in the domain of artistic creation, as is the case with these filmmakers who hail from the southern comer of Europe which we call Spain.
by ANGEL FERIWÍDEZ-SANTOS
VII Los Sequíos FRUTOS
ace poco más de 10 años, la respuestas nuevas a la necesidad del público desaparición de la dictadura fascista — de una nueva imagen de sí mismo. Cineastas H que impedía en España desde casi como Víctor Erice (El Sur), Carlos Saura medio siglo atrás la creación libre de cultura— (Bodas de Sangre, Carmen), Francisco generó un espejismo. Se pensó entonces, y tal Regueiro (Padre Nuestro), Pilar Miró (El idea era la ingenua deducción de un Crimen de Cuenca, Gary Cooper Que vehemente deseó que al romperse en España Estás en Los Cielos), Mario Camus (Los los diques de contención de la libertad, ésta Santos Inocentes, La Colmena), Pedro desencadenaría velozmente una vasta Alomodóvar (Pept Lucí, Boom, ¿Qué He cosecha de productos culturales, sobre todo Hecho Yo Para Merecer Esto?), Manuel de aquellos en que el aparato represivo de la Gutiérrez ARagón (Maravillas, Demonios en censura franquista se había ensañado con el Jardín), Luis García Berlanga (Escopeta más dureza el teatro y, sobre todo, a causa de Nacional, La Vaquilla), José Luis Garci su amplio consumo popular, el cine. (Volver a Empezar), Imanol Uribe (La Muerte de MikeL Fuga de Segovia), En efecto, a partir de 1976, el ritmo de los abrieron junto con otros el camino de la acontecimientos políticos y sociales primera cosecha de un cine propio de la experimentó en España una súbita democracia española aceleración y la vida cotidiana de los españoles se precipitó en una sucesión en torrente de sucesos que, en muy corto tiempo, volvió del revés como un saco la oy, una década después del punto dinámica interior y el aspecto extemo del cero, ya están en las pantallas los estilo de vida, de los gustos, de los H segundos frutos, de los que esta comportamientos tanto individuales como muestra es por fuerza una restringida colectivos y, por consiguiente, de la demanda selección, que ilustra bien, por su pluralidad de productos culturales, entre ellos el temática y estilística, la conespondencia cinematográfico. existente en España entre la variedad de gustos cinematográficos del público y la variedad de sensibilidades de los cineastas en in embargo, la energía, generalización y activo. prontitud con que surgió esta demanda ambiental no encontró el complemento Son escasos y no relevantes los S denominadores comunes que pueden de una oferta de similares características, capacitada en cantidades y calidades para descubrirse en el conjunto de filmes que satisfacerla. Si, una vez adaptada a la vida componen esta selección de la más reciente democrática, la sociedad Española pedía a producción del cine español. Y es éste, sus cineastas otro cine que el permitido por aunque sólo sea sintomáticamente, un juicio la dictadura extinguida, este otro cine se de la riqueza de posibilidades que se abre en resistía tozudamente a aparecer. Y los el presente y, sobre todo, en el futuro, ante el españoles tuvieron que esperar varios años cine español. La ausencia de los rasgos de para descubrir que los cambios políticos y las una escuela, y de la uniformidad de la mirada mutaciones culturales se mueven sobre derivada de tal ausencia, se compensa en esta duraciones distintas y que la urgencia de la muestra con la manifestación de las solicitud de ese otro cine chocaba poderosas hasta la divergencia, frontalmente con la dilatación, e incluso individualidades de sus autores. Entre, por morosa lentitud, del ritmo fabulador de los ejemplo, el cine de Fernán-Gómez y el de hombres de cine capacitados para atenderla. Almodóvar; como entre el de Armendáriz y el de Gutiénez Aragón, existe la proximidad derivada del hecho de que proceden del mismo conjunto de vivencias colectivas; pero, ólo después de un proceso que se inicia no obstante, existe aún más marcadamente la entre 1980 y 1982 comenzaron a verse lejanía derivada de ser cines de antípodas, Sen las pantallas españolas los primeros recíprocamente irreconciliables y portadores frutos de un cine inequívocamente derivado cada uno de ellos de una imagen opuesta —y de la nueva etapa democrática iniciada en la unidad de contrarios es la antesala de una 1975. El incubamiento en la imaginación de voz propia en los dominios de la creación los cineastas de un lenguaje filmico distinto y artística lo que les ocurre a los hombres en algunas, pocas pero severas, decisiones ese rincón sureño de Europa que llamamos políticas que hicieron posible la producción España. de películas desde supuestos legales y económicos acordes con la nueva fisonomía del mercado cultural español, dio lugar a un conjunto de filmes que, estos sí, ofrecían por ANGEL FEKJWíDi; Z SAJYTOS
VIII The FÌIMS
(The Year of Awakening)— 1 EL ANO 14 WERTHER IX SPANISH MOVIES FOR THE WORLD EL AÑO DE LAS LUCES CAM DE ACELGA (THE YEAR OF AWAKENING) (TURNIP TOP) by FERNANDO TRUEBA by JOSE SACRISTAN ormer film critic, Fernando Trueba made ith more than a hundred film a resounding entrance into his career as performances to his credit, Jose Fa director with "Opera Prima", which was W Sacristan is considered one of the best a smash box office hit in Spain and a film and most popular actors in Spanish film which depicted an indepth view of Spanish today. Though his fame was launched by his youth in the early seventies. innumerable appearances in comedy films, he Trueba, who leans toward comedy as his later went on to prove himself with dramatic favorite genre, came back in 1986 with talents as well, as shown in his fine another one of the biggest box office performance in "El vlaje a Ninguna Parte", successes in recent years with his "Se Infiel y another of the movies being shown in this No Mires con Quien", an adaptation of the play series. "Move Over, Mrs. Markham" by Ray Cooney "Cara de Acelga" is a Sacristan's second and John Chapman. experience in a triple role as director, "El Ano de las Luces", his fifth picture, screenwriter and actor all in one; the first was confirms hims as a director with a bright "Soldados de Plomo" (Tin Soldiers), made in future in store. He has achieved a maturity of 1983. Spanish critics have situated "Cara de style that allows him to seduce the general Acelga" within the "on the road" genre, but it public as well as the most demanding critics also has strong roots in the itinerant themes and movie fens. found in Spanish picaresque literature. Based on a screenplay which he wrote with In the "Maltese Falcon" Sam Spade tells the Rafael Azcona —a scriptwriter who often story of a man who leaves everything behind, collaborates with Saura, Berlanga and throwing his life to the winds of fate until he Ferreri—, ^1 Ano de Las Luces" is the rediscovers his past at the same time finding humorous and tender description of a young a reference point for his future. This is what happens to the main character in "Cara de boy's initiation to life, love and sex. The story Acelga" as he hits the road, with no direction begins in January 1940, when he is sent to a in mind. The reality of his new experiences "preventorio" —a cross between a sanatarium takes on a dream-like tone as it overlaps with and a boy's school— to improve his health. his memories and the rediscovery of his Revolving around this young man, we are childhood. Love, friendship, and an introduced to a series of characters, in all their unexpected robbery caper thread the various misery and splendor, seen with pity and characters together, viewed through kind and tenderness through Trueba's eyes, in such a laughing eyes. manner that their small stories move us to sympathy as well as laughter. The FiLivis LA GUERRA DE LOS LOCOS LOLA (THE WAR OF THE LOONIES) (LOLA) by MANOLO MATJI by BIQAS LUNA ith "La Guerra de Los Locos" Manolo igas Luna's career took off with a bound Matji, one of the most prestigious and when his second film, "Bilbao", reaped W inventive screenwriters in Spain today, B excellent criticism from its screening in makes his debut as a director. the "Quinzaine des Réalisateurs" (Director's Based on a story by the novelist Isaac Fortnight) at the Cannes Rim Festival. Bigas, Montero, Matji weaves his own original tale who studied architecture and is a which takes place toward the beginning of the photographer and designer, offers a vision of Spanish Civil War. A group of escaped patients his own plastic world in his films —obsessed from a psychiatric hospital join forces with a by objects— a risky point of view which encompasses the abnormal and almost group of mountain rebels fighting for the fantastic dimensions of reality. Bigas Luna has Republic, led by "Sandy", a mythical querrilla definitely made a mark for himself and his hero of the area. particular expressive terrain within the world of The madness of the patients contributes to European and Spanish filmmaking. the generation of indiscriminate violence, complicated by the fact that the leader of the "Lola" follows his film "Reborn", which Bigas "loonies" gradually takes on the identity of Luna shot in the US with Dennis Hopper and "Sandy'. Michael Moriarty. It is a story of love, crime and betrayal, centering around a woman who is Matji metaphorically establishes a incapable of resigning herself to a serene love connection between violence and pathological relationship after having experienced the insanity, which supposes a new angle in the furious sexual passion that had previously interpretation of the civil war conflict of 1936. bound her to a crude and violent man. The At the same time, the classical theme of the creativity of the images strengthens the "double" personality is explored from a new and suggestive perspective. dramatic vigor of the story whose lead characters are portrayed by Ana Molina, It is a harsh film, relentless at times, shot Feodor Atkine and Patrick Bauchau (who With a firm hand and maturity that are appeared in "Choose Me" by Alan Rudolph). outstanding to find in a first endeavor. BY MANUEL HIDALGO XI SPANISH MOVIES FOR THE WORLD LULU DE NOCHE (LULU BY NIGHT) by EMILIO MARTINEZ LAZARO artínez Lázaro has said, with respect to "Lulu de Noche", that his idea was to Mtry and make a cross between "The Philadelphia Story" and "Psycho", alluding to the two juxtaposed moods which run through the film; light comedy and turbulent drama. The plot revolves around the character of "Lulu", invented by the playwright Frank Wedekind —and later carried to the silver screen with Louise Brooks playing the heroine in "Pandora's Box"— and a young theatre director who wishes to stage a new production of the play. In his search for the perfect woman to play the lead he establishes relationships with three very different women; three possible "Lulus", whose paths also cross with a psychopathic saxaphone player who will take the part of Jack the Ripper. Martínez Lázaro, who won the "Golden Bear" Award for best film in Berlin with his first film, "Las Palabras de Max" (What Max Said), not only achieves a solid interweaving of tragedy and comedy, but also pulls off a true "tour de force", delineating distinct modes of comedy which run from sophistication to that of the traditional Spanish aesthetic of nonsense. The film is also an expressive showcase of some of the best young actors and actresses in Spanish film today: Antonio Resines, Patricia Adriani, Assumpta Sema, Amparo Muñoz and Imanol Arias, among others. LUNA DE AGOSTO (AUGUST MOON) by JUAN MIÑON una de Agosto" is a Juan Miñón's second film, who had already revealed his talents L in "Kargus", which he co-directed with Miguel Angel Trujillo. Miñón, who alternates making movies with work in publicity, has returned with a feature film, this time directed by him alone. It is a simple work, however, one that denotes a deep sensitivity. XII THE FÍIMS "Luna de Agosto" narrates the journey of a young Spanish girl from Tangier to Marrakech, pursued by thieves who are looking for something that she herself does not know that LA MITAD DEL CIELO she has. With this as the basic background for (HALF OF HEAVEN) the plot of intrigue, Miñón proceeds to by MANUEL GUTIERREZ ARAGON delicately describe the unique relationship between the girl and a young Arabian boy who has appeared as her unexpected guide. The anuel Gutiérrez Aragón may well be deepening relationship between them the most talented among the handful develops along with the girl's discovery of a M of filmmakers who were considered new and foreign land, which is at times hostile, newcomers in the early seventies, after the but in the end becomes like another home for new wave which had swept over the Spanish her. Superficially an adventure story, it also cinema in the previous decade. His prestige spins the tale of a more intimate adventure, has been firmly established within Spain and the process of discovery; the double risk of recognized elsewhere by awards and przes placing one's life at stake and opening oneself received in various film festivals, such as the up to other convictions, other feelings. David di Donatello Award for "Demonios en el Jardín" (Demonds in the Garden). With "La Mitad del Cielo", Gutiérrez continues along the road to success. It won the "Concha de Oro" Award (Best Film) at the 1986 San Sebastián Film Festival and has also MATADOR been distinguished as best Spanish film of the year by the Spanish Jury of Film Critics. (MATADOR) la Mitad del Cielo" is the story of a young by PEDRO ALMODOVAR girl from a northern village who, in the late fifties, arrives in Madrid to seek her fortune. ne of the names by which bullfighters Her work and ambition gradually pull her up are called in Spain is that of "matador", along the social ladder. It is a story of tenacity, which means "killer". The lead O will, and the capacity to make something of characters in this film are a retired bullfighter, oneself in the face of all difficulty. It is a blend who directs a bullfighting school, and an of realism with a streak of poetry and ghostly attractive woman lawyer. Death is a part of legends thrown in. The extraordinary actress, everyday life for both of them. For him, it is the Angela Molina —who has just recently natural unfolding of his profession. For her, appeared with Klaus Maria Brandauer in the desired culmination of sexual pleasure. Death will be their final destiny, both a tragic "Streets of Gold"—may well have given her and, surely, happy rate. best performance to date in the role of the undauntable young woman in "La Mitad del Pedro Almodovar is the most controversial Cielo". and passionate film director to come out of Spain in recent years. His cinema combines a Peculiar affection for traditional Spanish culture with his own personal definition of What being modem means. Both of these themes are fused in "Matador" with a singular intensity which connects with a universal pulse. TATA MIA He has intertwined tragedy and comedy in a plot which also includes its share of police (NANNY DEAR) intrigue, and contrasts realism with the glitter by JOSE LUIS BORAU °f fantasy. wo important names in the history of Spanish filmmaking are brought T together on the screen here. On one hand, Jose Luis Borau, the director of "Furtivos", winner of the "Concha de Oro" Award (Best Film) at the San Sebastian Film XIII SPANISH MOVES FOR THE WORLD Festival the year it came out and one of the who made "La Lune Dans Le Caniveau" with most praised films and biggest box office hits Jean-Jacques Beineix and, quite recently, "Max, of the last twenty years. On the other hand, Mon Amour", with Nagisha Oshima. Imperio Argentina, the great star and "diva" of Spanish cinema, who, in the thirties, starred in numerous European remakes for Paramount Studios under the direction of her husband, Florian Rey. Boraus last film before Tata Mia" was "On the Line" shot in the US with Victoria Abril, TRAS EL CRISTAL David Carradine, Scott Wilson and Sam Joffe. (IN A GLASS CAGE) "Tata Mia" is a tender, delicious, funny and, at by AGUSTIN VILLARONQA times, a rather somber comedy concerning a woman in her forties who, with the pretext of his first film by Agustín Villaronga straightening out her inheritance affairs leaves caused quite a commotion when it was the convent where she has lived as a nun. She T first screened at the Berlin Film Festival, turns to her old "nanny" in an attempt to ease where it became the object of a lively debate her re-encounters with the exterior world and between its supporters and defamers, with the resolve her difficulties, not the least of which outcome being that the festival showed the are her needs to establish a mature film in several successive showings beyond the relationship with a man, and to rescue and regular program. bury, once and for all, her childhood. Four people in a house, a tense and claustrophobic setting a fierce and untenable background for a domination ritual that goes beyond the generic and conventional boundaries of psychological suspense. The irrepressible attraction and the visceral rejection, a dramatic game of fascination and TEMPO DE SHENCIO repulsion that stems from the practices of a (A TIME OF SILENCE) former Nazi medical officer who specialized in by VICENTE ARANDA clinical experiments on children. Penetrating to the depths of horror, to reveal the chilling iempo de Silencio" is like the eye at the truth that this conduct could be repeated in center of a storm which hung over time and that the acceptance of this conduct T Madrid in the late forties and early can even be taken as a future mode of fifties. The atmosphere was still racked by the behavior by his own victims. recent civil war and suffocated by the weight "Tras el Cristal" reveals an indisputable film of the dictatorship. People of all social classes personality in its director, a man with the were caught in a struggle for survival. They were potential for handling images and atmosphere defenseless against the cruelty, that prove, beyond any thematic controversy, disheartenment moral and economic misery the certain existence of a filmmaker sure to and the overall feeling that they had no future. make his mark Even the most innocent among them discovered that there was no place for their small dreams. The film is based on a novel by the same name, written by the late Luis Martin Santos. It was a key work within the realistic school, however, certain aspects of the narration 27HORAS cause one to think of James Joyce. It is a hard (27 HOURS) drama that does not let up, brilliantly by MONTXO ARMENDARIZ transferred to the screen by the veteran director, Vicente Aranda, with faultless ontxo Armendariz is another orientation and an outstanding cast Among outstanding director of the new the excellent group of actors who appear in MSpanish cinema His first film "Tasio" this film are Imanol Arias, and Victoria Abril, the winner of numerous awards in various XIV THE FÍIMS international festivals —among them the villages in the post-war days of the Spanish Chicago Festival— shone for its simplicity and civil war. It is a bittersweet tale, a light and beauty. "27 floras", his second feature film, as painful hommage to actors, seen through the well as 'Tasio" were produced by Elias eye of memory and experience, contemplating Querejeta, who has also produced most of life itself as a highway full of events which Carlos Saura's films. brings us both laughter and tears along the In "27 floras", Armendariz narrates the story way. Among the members of the cast is the of three adolescents —two boys and a girl— young actress Laura de Sol, who starred in (played by three young newcomers to movies), "Carmen" and "El Amor Brujo" (Love, the who are united by love and friendship, fatally Magician), both directed by Carlos Saura. bound in a situation without horizons, symbolized by the heroin addiction of two of them. Awarded the "Concha de Plata" in the 1986 San Sebastian Film Festival, "27 floras" is a moving story told with a tightly knit narrative woven with a poetic emotion WERTHER portrayed by stark images. The melancholy exterior images of the landscape —the sea, (WERTHER) the cloudy skies— which are handled with by PILAR MIRO extrordinary deftness by the camera director, Javier Aquirresarobe, induce an inner state of ilar Miro has worked as a director in film, mind which is faithfully reflected by the television and opera —"Children of a expressive eyes and silences of the three P Lesser God"—, and is presently the teenagers. General Director of the two public television channels in Spain, following her post as General Director of Cinematography with the Ministry of Culture. But above all, she considers herself a filmmaker, and is one of the few women directors in the history of Spanish cinema. Among the various films that EL VIAJE A NINGUNA PARTE she has directed, "El Crimen de Cuenca" deserves special mention as one of the all (THE JOURNEY TO NOWHERE) time box office successes in Spain. by FERNANDO FERNAN GOMEZ Based on the well-known characters of emando Fernán Gómez is an authentic Johann Wolfgang Goethe's drama, "Werther" "number one" on the present day explores the classic romantic theme of the F Spanish artistic and intellectual scene. possibility of dying for love. Miro has updated Writer, director and actor in movies, television the characters to modem times, such that the and theatre; novelest poet and outstanding present story deals with a greek professor press columnist Fernán Gómez is a assigned to give private classes to a problem personality unmatched within Spanish culture. child and who, in love with a woman —the mother of the child— who finally chooses to "El Viaje a Ninguna Parte", based on one of remain with her husband, finds himself his own novels, directed by him, and in which condemned to tragedy. he also plays —at the head of a memorable cast— has just been presented the award for "Werther"not only proposes the question of Best Film of 1986 by the Spanish Film whether suicide for love is valid or not but Directors Association. Fernán Gómez also also deals with vanquished love as an received this year's award for Best Actor (from ingredient of happiness as well as the role it the same association), an honor that he has plays in the anxiety underlying universal been granted twice in the past by the Berlin human sentiment The film, executed with an Film Festival, for his performance in "El impeccable style and powerful images, is Anacoreta" (1977), directed by Juan Estelrich, magnificently interpreted by Eusebio Poncela and "Stico" (1985), directed by Jaime de and Mercedes Sampietro, the latter having Armiñán. received an award for her performance in Miro's "Gary Cooper Que Estas en Los Cielos" The film tells the adventures of a roving (Gary Cooper, Who Art in Heaven) at the 1981 theatre company traveling through small Moscow Film Festival. XV SPANISH MOVIES FOR THE WORLD CREDITS CAST Director FERNANDO TRUEBA "MANOLO" JORGE SANZ Screenplay FERTW1DO TRUEBA and "MARIA JESUS" MARI BEL VERDU RAFAEL AZCONA "EMILIO" MANUEL ALEXANDRE Executive Producer ANDRES VlCErfTE GOMEZ "RAFAELA" RAFAELA APARICIO Production Manager . . . CR1STIMA HUETE "JESUS" LUCAR MARTIN Cinematography JUAN AMOROS "IRENE" \ VERONICA FORQUE Music FRANCISCO GUERRERO "PEPE" SANTIAGO RAMOS Rim Editor CARMEN FRIAS 'TRANSITO" CHUS LAMPREAVE Set Master JOSEP ROSELL Wardrobe LUIS ARGUELLO Make-Up JUAN PEDRO HERNANDEZ Sound JEAN CLAUDE LAUREUX and GILLES ORTHION XVI (The Year of Awakening) THE FÍIMS EL AÑO (JE LAS LUCES SYNOPSIS One spring morning in 1940, two brothers, sons of a Una mañana en primavera de 1940, dos hijos de caídos "fallen soldier" in the Spanish Civil War, are shipped off to en la contienda civil son llevados a un preventorio para a children's tuberculosis sanitarium, situated on the niños tuberculosos situado en la frontera con Portugal. Spanish-Portuguese border. Este año se convertirá en el "año de las luces" para This year will become Manolo's year of "awakening". He Manolo. Tiene 16 años y se siente como el gallito del is 16 and feels like a duck out of water in the sanitarium, corral, ya que está rodeado de niños mucho menores which is really for young children. His only male que él. El único otro hombre que tiene cerca es Emilio, companionship comes from the old caretaker, Emilo; a el Factótum del lugar; un ex-intelectual que habla pseudo-intellectual who is constantly spouting off continuamente de las ideas que aprendió de sus wisdom from his former days in Paris. tiempos pasados en París. But Manolo's true enlightenment comes from his nightly Pero su verdadera "ilustración" viene gracias a sus peeping-Tom adventures with the young nurses. His aventuras nocturnas espiando a las jóvenes enfermeras. fantasies eventually become reality as he falls in love with Sus fantasías se convierten en realidad cuando se one of them, Maria Jesus, initiating a turning point in enamora de una de las enfermeras, María Jesús, both of their lives. iniciándose entre ambos una relación que les marcará para siempre. XVII SPANISH MOVIES FOR THE WORLD Director JOSE SACRISTAN "ANTONIO" JOSE SACRISTAN Based on a story by ... JOSE SACRISTAN and "MADARIAQA" FERNANDO FERNAN GOMEZ CARLOS P. MERINERO "OLGA" MARISA PAREDES Screenplay JOSE SACRISTAN "EUSEBIO" EMILIO GUTIERREZ Producer ALFREDO MATAS "PAQUÍTO" MIGUEL RELLAN Cinematography CARLOS SUAREZ "LOLES" AMPARO BARO Music RICARDO MIRALLES "HOSPITAL PATIENT' .. RAFAELA APARICIO Film Editor JOSE LUIS MATESANZ "ACACIA" AMPARO SOLER LEAL Set Master FELIX MURCIA XVIII (Turnip Top) THE Filrvis CARA SYNOPSIS After various attempts to escape from his past our hero, Después de varios intentos de escaparse de su pasado, Antonio, decides to hit the road, on foot As to be nuestro héroe, Antonio, decide marcharse, andando por expected, he becomes involved with new friends along la carretera. Claro, se encuentra con unas nuevas the way, even a lover, and manages to have a few re- amistades en su camino, también una amante, y hasta encounters as well. también con conocidos de antes. He is fascinated by Madariaga, an amazing guy who A Antonio le fascina Madariaga, un tío alucinante, y es él nicknames him "Turnip Top". Then there is Olga, quien le pone el apodo de "Cara de Acelga". También Madariaga's lover, who Antonio never really understands, tenemos a Olga, la amante de Madariaga. Antonio nunca though she becomes his loyer, too. llega a entenderla del todo, aunque se convierte en su One day Madariaga announces that they will steal a amante también. painting from a convent Then comes the accident in Un buen día Madariaga le dice que van a robar un which Madariaga is hurt, after which Olga simply cuadro de un convento. Pero después hay un accidente y disappears. So, Antonio heads on down the road, and Madariaga resulta herido. Olga desaparece de repente- suddenly finds himself in a grimy train station, after Antonio continúa por su camino. having a fight with a friend who has mysteriously appeared from the past Then the questions begin... Where is Madariaga? Is he dead? Who brought him here, anyway? XIX SPANISH MOVIES FOR THE WORLD Director MANUEL MATJITUDUR1 "EL RUBIO" ALVARO DE LUNA Production of XALAC, PRODUCCIONES "ANGEL" JOSE MANUEL CERVINO CINEMATOGRAFICAS "D.SALVADOR" JUAN LUIS GALIARDO Executive Producer JOSE MARIA CALLEJA "BARTOLO" ALBERTO A LOPEZ Screenplay MANUEL MATJI TUDURI "PAULINO" CESAREO ESTEBANEZ Cinematography FEDERICO RIBES "RUFINO" PEDRO DIEZ DEL CORRAL Sound MIGUEL A. POLO "EMILIO" PATXI CATALA Art Director LUIS VAZQUEZ Film Editor NIEVES MARTIN XX (The War of the Loonies) THE Filrvis LA quERRA CIE los Locos SYNOPSIS During the first few weeks of the Spanish Civil War, while Durante las primeras semanas de la Guerra Civil contradictory new reports spread confusion throughout Española, mientras las noticias contradictorias siembran the country, a group of patients escape from a Psychiatric confusión por la Península, un grupo de enfermos de un Hospital in the Toledo area. hospital Psiquiátrico de Piedraescrita (Toledo) consigue Meanwhile, some of the troops in uprising have formed a fugarse del centro. pocket in the mountains on their march to Madrid. En su marcha hacia Madrid, las tropas sublevadas While the major part of the inhabitants of the province forman una bolsa entre la Sierra de Guadalupe y los are making an exodus to safer ground, an anarchist Montes de Toledo. Mientras la mayor parte de los group sets out to confront the political boss of the habitantes de la comarca inician el éxodo hacia zonas region, who has iniciated a repressive movement against de menor riesgo, un grupo de anarquistas se dispone a all subversives in the province. enfrentarse al cacique de la región, que —al amparo del The group of anarchists and the psychiatric patients levantamiento militar— ha iniciado la represión de los meet up with each other and join forces in what proves elementos subversivos en la comarca. to be quite a tragic adventure. El grupo de anarquistas y los enfermos del Psiquiátrico se encuentran y unen sus esfuerzos. XXI SPANISH MOVIES FOR THE WORLD CREDITS CAST Director BIGASLUNA "LOLA" ANGELA MOLINA Assitant Director ROSA VERGES "ROBERT" PATRICK BAUCHAU Script NURIA CASANUEVA "MARIO" FEODOR ATKINE Screenplay LUIS HERCE, BIGAS LUNA "SILVTA" ASSUMPTA SERNA ENRIQUE VICIANO "ANA" ANGELA GUTIERREZ Executive Producer ENRIQUE VICIANO "ALBERTO" CONSTANTINO ROMERO Production Director . . . LUIS PUIG "FRANÇOISE" MARIAN RODES Director of Photography _ JOSE MARIA CIVIT "ISABEL" PEPALOPEZ Steadicam Operator . . . CARLOS CABECERAN Editing Director ERNEST BLASI Assistant Editor MARISA AGUINAGA Set Decorator FELIPE DE PACO Wardrobe and Casting .. CONSOL TURA Make-Up JOAQUIN NAVARRO Hairstylist HILARIO HERNANDEZ Music by JOSE MANUEL PAGAN Sound Engineer JOANQUILIS XXII THE FÍIMS LOLA SYNOPSIS Lola, a young woman, alternates her menial job in a shoe Lola, una mujer joven, alterna su trabajo en una fábrica factory with a violent and tempestuous love affair with de calzado con el violento y desgarrado amor de Mario. Mario, an alcoholic bum. Their relationship comes to an Terminada, aparentemente, esta relación, Lola se traslada abrupt halt and Lola moves to Barcelona where her life is a Barcelona donde su vida cambiará al conocer changed upon meeting Robert a top executive for an casualmente a Robert director general de una compañía automobile company. de automóviles. Five years later Lola is happily married, the mother of a Cinco años después, Lola casada y madre de una hija, little girl, Ana, and living a comfortable bourgeois life, far Ana, vivirá una vida burguesa con todas las removed from her sordid past comodidades, alejada de su pasado. Until one day Lola runs into Mario again, whose Un día, Lola se cruza con Mario en la calle y la presencia reappearance and constant harassment threaten to y acoso constante de éste amenazará destruir la unidad destroy her newly-found life. familiar. XXIII SPANISH MOVES FOR THE WORLD CREDITS CAST Director EMILIO MARTINEZ-LAZARO "RUFO" IMANOL ARIAS Screenplay EMILIO MARTINEZ-LAZARO "NINA" AMPARO MUÑOZ Executive Producers . . . FERNANDO TRUEBA "GERMAN" ANTONIO RESINES EMILIO MARTINEZ-LAZARO "AMELIA" ASSUMPTA SERNA Production Director .. . CRISTINA HUETE "LOLA" PATRICIA ADRIAN) Photography JUANAMOROS "JOSEFINA" ASUNCION BALAGUER Music ANGEL MUÑOZ-ALONSO "CESAR VALLE" FERNANDO VTVANCO Editor NIEVES MARTIN "CONCE" PILAR MARCO Mixing ENRIQUE MOLINERO "PACO" EL GRAN WYOMING Direct Sound IBIRICU "SARA" BARBARA TARDON Make-Up LUIS BURGOS Art Direction ESTUDIO 33 CARLOS RUIZ-CASTILLO Produced by KAPLAN and FERNANDO TRUEBA P.C. With the collaboration of TELEVISION ESPAÑOLA SA XXIV (Lulu by night) THE Filrvis Lulu de Noche SYNOPSIS In the latter half of the 19th century, one man became En la segunda mitad del siglo pasado, un hombre se the terror of all London prostitutes: his name, Jack the convierte en el terror de las prostitutas londinenses: Ripper. In 1903, Frank Wedekind published a play, the Jack el Destripador. En 1903, Frank Wedekind publica main character of which, "Lulu", went on to become a una obra de teatro, cuya portagonista, "Lulu", se legend as the Ripper's tragic victim. convierte en un mito como la trágica víctima del Our story begins in Madrid, 1985. German, a young Destripador. Muestra historia empieza en Madrid, 1985. theatre director, is attempting to stage a new version of Germán, un joven director de teatro, intenta montar una "Lulu". His main problem is who to cast as Lulu. nueva versión de "Lulu". Pero su problema principal es Amelia? German's ex-wife and actress, who would give quién interpretará a Lulu. ¿Amelia? Ex-mujer de anything to have the part Lola? A charming waitress that Germán y actriz, dispuesta de todo para conseguir el German comes across by chance and uses as a ploy. papel; ¿Lola? Una encantadora camarera que se cruza Nina? German's secret love, but a woman who prefers en el camino de Germán y que éste utiliza en sus living out her passions to playing them on stage. disparatados planes; ¿Nina? De la que Germán estuvo As for Jack the Ripper, German meets Rufo, a mysterious siempre enamorado, pero ella prefiere vivir las young musician who has also crossed paths with Nina, emociones fuertes en lugar de fingirlas sobre un with events unfolding in a most unpredictable way. escenario. En cuanto a Jack el Destripador, Germán conoce a Rufo, un músico de aspecto misterioso quién también ha conocido casualmente a Nina, y los aconte - cimientos se desarrollan de una forma imprevisible... XXV SPANISH MOVIES FOR THE WORLD CREDITS Director JUATi MIÑON "ANA" PATRICIA ADRIANI Screenplay JUAN MIÑON "GIBRAN" AIMAN MECHBAL Producer JUAN MIÑON "YAMILA" CLAUDIA GRAVI In collaboration with . . TELEVISION ESPAÑOLA SA "MIGUEL" CHEMA MUNOZ Cinematography MIGUELA TRUJILLO "ABSELAN" MAATI ZAARI Art Director MIGUEL OLIVER "SHEPHERD" ARRAJI MED TIMOD Sound JOSE M. BLOCH "COUSIN" KHALIL BEL AZIZ Rlm Editor JOSE SALCEDO "MOTHER" SAVADFERHATI Music JUAN C. ARRANZ "ALT' JILLALI FERHATI "BAD GUY" RODOLFO POVEDA XXVI (August Moon) THE Fjlvjs LUNA SYNOPSIS A ship moves down through the Straits of Gibraltar. Ana, a Un barco surca las aguas del estrecho de Gibraltar. En la young Spanish woman is aboard, headed to Tangier to cubierta, Ana, una chica española que viaja a Tánger meet up with her boyfriend, Miguel. It is the religious con el fin de encontrarse con su novio, Miguel. En month of Ramadan in Morocco, and it is also Ana's first Marruecos es el mes del Ramadán, y es la primera vez trip to a so called "third world" country. que Ana viaja a un país del llamado Tercer Mundo". However, what was meant to be a romantic redenzvous Sin embargo, lo que iba a ser un encuentro romántico soon takes on a rather mysterious air. When Ana arrives pronto se convierte en algo con aire muy misterioso. at her destination she is received by a friend of Miguel's Cuando llega Ana, es recibida por un amigo de Miguel rather than Miguel himself, who has suddenly que le dice que éste ha tenido que irse urgentemente a disappeared on an urgent mission to Marrakech, leaving Marrakech, y propone a Ana que se reúna con él allí. word for her to follow him there. La intriga sigue cuando un niño de 13 años aparece a su The intrigue continues as a 13 year old boy appears out lado, ofreciendo sus servicios de guía. Pronto ella of nowhere to be her "guide", and as she discovers that descubre que alguien le persigue en su viaje por este she is being followed on her solitary journey across this exótico país. Alguien tiene sumo interés o en ella, o barren land. Someone out there seems most interested quizá en lo que lleva: un colgante de plata que Miguel ha in her, or in her cargo, a silver pendant that Miguel had dejado para ella. left for her in Tangier. XXVII SPANISH MOVES FOR THE WORLD CREDITS CAST Director PEDRO ALMODOVAR "MARIA" ASSUMPTA SERNA Producer ANDRES VICENTE GOMEZ "ANGEL" ANTONIO BANDERAS Screenplay PEDRO ALMODOVAR "DIEGO" NACHO MARTINEZ with the collaboration of "EVA" EVA COBO JESUS FERRERO "BERTA" JULIETA, SERRANO Production Manager . . . MIGUEL GOMEZ "PILAR" CHUS LAMPREAVE Director of Photography . ANGEL LUIS FERNANDEZ "JULIA" CARMEN MAURA Set Decoration ROMAN ARlANGO and "POLICE INSPECTOR" ... EUSEBIO PONCELA JOSE MORALES-JOSE ROSELL "FLOWER SELLER" BIBI ANDERSEN Sound BERNARD ORTHION Music BERNARDO BONEZZI Wardrobe JOSE M.a OOSSIO XXVIII THE FÍIMS SYNOPSIS Diego Montes was a famous bullfighter, forced into early Diego Montes es un famoso torero, retirado por una retirement after being gored by a bull. After retiring, cogida prematura. Después de abandonar el ruedo, Diego opens a bullfighting school, but feels compelled to Diego crea una escuela de tauromaquia, pero tiene que continue killing. Women now replace bulls in his seguir matando. Las chicas sustituyen en su retiro a los desperate pursuit of pleasure. toros. Maria Cardenal is a criminal lawyer, a murderess, and a María Cardenal es una abogada criminalista y también secret admirer of Diego's art. She imitates the master's le gusta matar. Es una admiradora secreta del arte de style in her killings. Diego e imita el modo de matar del torero. Angel, one of Diego's students, is a young man tortured Angel, un alumno de Diego, vive atormentado por un by guilt and gifted with special vision. In a strange twist of tremendo complejo de culpa, además de tener poderes circumstances, he confesses to be the murderer of both especiales de "visión". En unas circunstancias extrañas, Diego's and Maria's victims. Maria volunteers to handle él se hace culpable de todas las muertes, las del torero y his trial defense, knowing, better than anyone, that he is de la abogada. innocent Se hace cargo de su defensa María Cardenal, ya que ella But no one, not even Angel, can prevent the inevitable sabe mejor que nadie que Angel es inocente. when Diego and Maria finally find each other. Pero cuando Diego y María se encuentran, nadie, ni Angel ni ellos mismos, podrán evitar lo inevitable. XXIX SPANISH MOVIES FOR THE WORLD CREDITS Producer LUIS MEGINO ,"ROSA" ANGELA MOLINA Original Screenplay . . . MANUEL GUTIERREZ ARAGON GRANDMOTHER" MARGARITA LOZANO and LUIS MEGINO ANTONIO V. VALERO Director MANUEL GUTIERREZ ARAGON DELGADO" NACHO MARTINEZ Music MILLADOIRO ANTONIO" SANTIAGO RAMOS Director of Photography . JOSE LUIS ALCAINE RAMIRO" FRANCISCO MERINO Cameraman ALFREDO F. MAYO YOUNG ROSA" MONICA MOLINA Assistant RAMON PERDIGUERO OLVIDO" CAROLINA SILVA Decorator and DON PEDRO" FERNANDO FERNAN-GOMEZ Costume Designer GERARDO VERA Assistant ANTONIO DE MIGUEL Chief Editor JOSESALCEDO XXX (Half of Heaven) THE Films LA MJTAd del CÍEIO SYNOPSIS This is a story of working class ambition entertwined with Una historia de la ambición de la gente humilde, old world mystery and superstition. entremezlcada con las supersticiones y misterios de un Rosa is a beautiful, hard-working woman who is plunged mundo antiguo. into an unfortunate love affair, having been warned against Rosa es una mujer guapa y hacendosa que se enamora it by her grandmother, a woman endowed with strange trágicamente de un mal hombre, después de que su prophetic powers. When the prophecy is fulfilled, Rosa abuela había predicho el asunto, ya que ella parece flees to the big city, Madrid, with her infant daugther, who dotada de especial poder. Cuando ya el seductor muere, has inherited her great-grandmother's psychic gift. Rosa se va a Madrid con su niña pequeña que ha Rosa seems destined to success as she progresses from heredado las extrañas dotes de la abuela. having a tiny market-place stall to being the proud owner Rosa parece tener su destino en el éxito. Empieza con of a respectable restaurant un pequeño puesto en el mercado pero pronto se She is helped along the way by Juan, a young student, and convierte en dueña de un restaurant respetable. Don Pedro, a respected city politician. These two men are Por su camino se encuentra la ayuda de un joven also competitors for her love, but Rosa seems estudiante, Juan, y de Don Pedro, un gran señor de la determined to heed the call of ambition rather than ciudad. Estos dos hombres, cada uno a su manera, romance. intentan reclamar el amor de Rosa, pero ésta parece más interesada por sus ambiciones que por asuntos sentimentales. XXXI SPANISH MOVES FOR THE WORLD CREDITS Director JOSE LUIS BORAU "TATA" IMPERIO ARGENTINA Screenplay JOSE LUIS BORAU 'TEO" ALFREDO LANDA Director of Photography . TEO ESCAMILLA "ELVIRA" CARMEN MAURA Rim Editor EMILIO RODRIGUEZ "PETER" XABIER ELORRIAGA Music JACOBO DURAN-LORIGA ALBERTO" MIGUEL RELLAN Sound JOSENOGUEIRA PALOMA" MARISA PAREDES Wardrobe MAIKI MARIN Make-Up MIGUELSESSE Producer PROFILMAR and EL IMAN production Production Manager .. . JOSE LUIS TRISTAN XXXII (Nanny Dear) The FIIMS TATA MÍA SYNOPSIS Elvira, a woman in her forties, has just left the convent Elvira, una mujer cuarentona, acaba de "escapar" del which she entered as a young girl, and finds herself covento donde entró cuando aún era niña, y se suddenly confronted with a drastically different world than encuentra de repente con un mundo y circunstancias that which she had left years ago. drásticamente diferentes a las que dejó años atrás. On returning home she feels suffocated by an onslaught Al volver a su casa se siente agobiada por una avalancha of family problems which she is incapable of dealing with. de problemas familiares e incapaz de resoverlos. Su Her brother is trying to make over her inheritance hermano intenta quitarle la herencia la monjas intentan rights, the nuns from her former convent attempt to que vuelva a la vida religiosa pero, y esto es lo peor de reconvert her and, worst of all, she herself is overcome by todo, ella se siente turbada por unas sensaciones romantic and erotic sensations that she is unable to eróticas y sentimentales que no puede controlar. control. Entonces Elvira recuerda a "Nanny", la sabia y cariñosa Elvira then resorts to "Manny", her wise and tender mujer que la cuidaba de niña. "Nanny" ha sido relegada childhood governess, who has now been relegated to the a la finca de la familia en el norte de España. Elvira va a family's country house in northern Spain. traerla a Madrid otra vez, en la esperanza que "Nanny" Elvira sets out to bring her back home to Madrid, in the pueda arreglar los asuntos de Elvira, como siempre ha hopes that "Nanny" will be able to set her life straight, as hecho antes. she had always done before. XXXIII SPANISH MOVIES FOR THE WORLD CREDITS rz Director VICENTE ARANDA "PEDRO" IMANOL ARIAS Executive Producer CARLES DURAN "DORITA" VICTORIA ABRIL Cinematography JUAN AMOROS "CHARO/MOTHER" CHARO LOPEZ Film Editor TERESA FONT "MUECAS" FRANCISCO RABAL Art Director JOSEP ROSELL "MATIAS" JUANECHANOVE H Production of LOLAFILMS, SA and MORGANA FILMS, SA In Association with .... TELEVISION ESPAÑOLA SA XXXIV (A Time of Silence) The FÍIMS TÍEivipo CIE SÍLENCÍO The setting is Madrid in the early 1950s. It is a time of Comienzos de los años cincuenta en Madrid. Son imposed silence which at times causes people to tiempos en que las cosas hacen poco ruido, que a veces become unexpected dissidents, fighting for their rights obliga a las personas a convertirse en disidentes contra amidst the imposition of law and order from on high. la pretensión de imponer, desde arriba, como norma Pedro is a young doctor who is carrying out laboratory obligada, la paz y el orden. research on rats, searching for a cure for cancer. He Pedro es un joven médico que lleva a cabo unas suddenly receives an ungent call from the old man who investigaciones sobre ratones. Un día le llaman breeds the lab rats to come to his house immediately. urgentemente desde la casa del viejo, "Muecas", que Pedro arrives at the poverty stricken shanty too late to cuida los ratones de los experimentos. Pedro llega a la save the old man's daughter from the abortion butchery casa demasiado tarde para salvar la vida de la hija del which they had already performed on her. Not only does viejo que ha sido victima de un intento de aborto en the girl die, but Pedro winds up in jail for participating in casa. La chica muere y Pedro termina en la cárcel por su an illegal act He is helped through his problems by a participación en este asunto ilegal. young girl, Dorita, who is also destined to pay for what Otra joven, Dorita, ayuda a Pedro con todos sus Pedro has done. problemas, pero al final su destino va a ser todo lo trágico que estos tiempos de silencio imponen. XXXV SPANISH MOVIES FOR THE WORLD CREDITS CAST Director AGUSTIN VILLARONGA "ANGELO" DAVID SUST Screenplay AGUSTIN VILLARONGA "KLAUS" GUNTER MEISNER Producer TERESA ENRICH "GRISELDA" MARISA PAREDES Director of "RENA" GISELA ECHEVARRIA Cinematography JAUME PERACAULA Art Director CESCCANDINI Film Editor RAUL ROMAN Music JAVIER IWARRETE XXXVI (In a Glass Cage) THE Films IRAS EI CRÍSTAI SYNOPSIS Klaus is a former Nazi medical officer, now paralyzed and Klaus, un hombre que ha sido oficial médico (Nazi), confined to an iron lung, and living in exile with his wife ahora vive en exilio con su mujer y su hija. Ha quedado and daughter. paralizado a causa de un accidente por lo que debe Klaus was involved in experiments carried out on permanecer en un pulmón de acero. young children in the concentration camps; which in Klaus estuvo asociado durante la guerra a experimentos Klaus' case were more like sadistic torture rituals carried clínicos infantiles hechos con niños deportados. En el out on young boys, generally culminating in death. His caso de Klaus estos eran más como ritos sádicos de morbid past now lies jailed within his "glass cage"; the tortura que terminaron con la muerte de los niños. Este iron lung upon which his life depends. pasado mórbido ahora se queda como prisionero en la A strange young man, Angelo, appears unexpectedly in mente de Klaus, y el prisionero de pulmón de acero. the village, offering to serve as Klaus' nurse. Angelo Un joven extraño, Angelo, aparece de repente en su casa seems to possess a magic power over Klaus, becoming un día a ofrecerse como enfermero de Klaus. Angelo more ominous as he reveals himself to be one of the poco a poco va dominando a Klaus casi como si tuviera boys whom Klaus has tortured, but who has survived. He poderes extraños, que se vuelve más y más siniestro has now returned to resume the dark rituals which his cuando se descubre que él ha sido uno de los niños torturer has initiated, as well as to seek revenge. torturados por Klaus, pero que sobrevivió. Ahora Angelo ha vuelto para continuar con los ritos oscuros que había iniciado su torturador, y también a tomar su venganza. XXXVII SPANISH MOVIES FOR THE WORLD Director MONTXO ARMENDARIZ "JON" JON SAN SEBASTIAN Screenplay MONTXO ARMENDARIZ and "PATXI" MARTXELO RUBIO ELLAS QUEREJETA "MATTE" MARI BEL VERDU Producer ELLAS QUEREJETA "RAFA" ANTONIO BANDERAS Cinematography JAVIER AQUIRRESAROBE Film Editor JUAN I. SATi MATEO Music ANGEL ILLARRAMENDI, IMANOL LARZABAL and CARLOS JIMENEZ Sound EXA STUDIOS XXXVIII (27 Hours) THE FÌIMS 27 hoRAs 27 hours in the lives of three young people; Jon, his 27 horas en la vida de tres jóvenes; Jon y sus amigos, girlfriend, Maite, and his friend Patxi. They are teenagers Maite y Patxi. Son adolescentes del pais vasco, pero from the Basque country, but they could be from podrían ser de cualquier sitio. anywhere. Their passions are universal to young people Sus pasiones son universales entre los jóvenes a la hora as they try to deal with their lives, friendships, love and de enfrentarse con sus vidas, sus amistades, sus amores, jealousies. y sus celos. On this particulary day they also confronted with death. Este día en particular, también tienen que enfrentarse con Death which threatens their lives in the form of drugs. la muerte. La muerte que amenaza sus vidas en forma As the clock strikes seven in the morning our story de droga. begins and Jon sets off in search of his two friend. Suenan las 7 de la mañana. Jon se despierta y va en Afternoon finds them together, headed out to a small busca de sus amigos. Luego, por la tarde, los tres van en island. The events which take place on the island, which una barca a una isla para divertirse un rato. Pero lo que should have been a pleasure trip, will etch their lives ocurre en la isla, en vez de ser diversión, se convertirá en forever. By the time their afternoon boat outing is over it una tragedia que les marcará para siempre. Cuando will be ten o'clock the next morning one of them will be vuelven por fin de su excursión de la tarde, será las dead, and 27 hours will have gone by. 10:00 de la mañana siguiente. Una de ellos estará muerta y habrán pasado 27 horas. XXXIX SPANISH MOVES FOR THE WORLD CREDITS CAST Director FERNANDO FERNAN GOMEZ "CARLOS GALVAN" JOSE SACRISTAN Screenplay FERNANDO FERTWi GOMEZ "JUANITA PLAZA" LAURA DEL SOL Production Manager . . . ANDRES SANTANA "SERG. MALDONADO" .. JUAN DIEGO Production Delegate . . . FANCISCO VILLAR "JULIA INIESTA" MARIA LUISA PONTE Set Master and "CARLITOS" GABINO DIEGO Wardrobes JULIO ESTEBAN ROSITA DEL VALLE" ... NURIA GALLARDO Make-Up JOSE ANTONIO SANCHEZ "DON ARTURO" FERNANDO FERNAN GOMEZ Director of Cinematography JOSE LUIS ALCAINE Cameraman RICARDO NAVARRETE Rim Editor PABLO GONZALEZ DEL AMO Produced by MARIBEL MARTIN and JULIAN MATEOS In collaboration with . . TELEVISION ESPANOLA Music PEDRO ITURRALDE XL (Journey to Nowhere) The Filrvis EL VIAJE A NiiMquNA PARTE SYNOPSIS This is the tale of a troupe of wandering actors, on the La historia de una grupo de "cómicos de la legua", que road from village to village, trying to survive in a world viajan entre los pueblos e intentan sobrevivir en un that no longer seems interested in them. They slowly mundo que ya no demuestra demasiado interés por come to realize that they are doomed to a journey to ellos. Poco a poco se dan cuenta que el suyo es un viaje nowhere, faced with the fact that they are a dying breed, a ninguna parte, se enfrentan con el hecho de que este with their business being taken over by newer and better arte se muere y ya hay mejores espectáculos y attractions, and with their main enemy becoming the diversiones, con el enemigo principal del cine que travelling "movie man". también llega a los pueblos. Along their journey their work is intermingled with love, A lo largo de su viaje el trabajo se entremezcla con el financial problems that are crossed with confusing family amor, los problemas económicos con los familiares, y ties, and hunger, which clouds their ever present dreams siempre el hambre con el triunfo soñado. of distant triumph. El personaje central, un viejo actor que ahora vive en una Our leading character, an aging actor living in a rest residencia de ancianos, resuelve la situación home, has resolved the situation by taking refuge in a refugiándose en un mundo de fantasía. Es él quien narra world of fantasy, Me narrates the events, beginning with esta historia, empezando con los años deprimidos de their struggle in the depression years in Spain of some España de hace unos 40 años, y contando su aventuras 40 years past, and describing their meandering into hasta los tiempos modernos. modem times. XLI SPANISH MOVIES FOR THE WORLD CREDITS CAST Director PILAR MIRO "WERTHER" . EUSEBIO PONCELA Producer PILAR MIRO P.C. in "CHARLOTTE" MERCEDES SAMPIETRO collaboration with TELEVISION FEODOR ATKINE ESPANOLA VICTORIA PENA Script MARIO CAMUS and PILAR MIRO LUIS HOSTALOT Production Manager . . . CARLOS ORENGO EMILIO GUTIERREZ CABA Cinematography HANS BURMANN Rim Editor JOSE LUIS MATESANZ Set Design GIL PARRONDO and FERNANDO SAEZ Music MASSENET, CARRERAS, VON STADE, DAVIS XLII THE Filrvis WERTIIER SYNOPSIS "Werther* is a loose interpretation of the characters "Werther" es una libre interpretación de los personajes described by Johanne W. Goethe. Our leading character de Johanne W. Goethe. Algo ha variado en aquel joven, is no longer that gentleman of impeccable dress and cuidado en el vestir y de cortesano comportamiento con mannerly behavior. He is now a young teacher who has que Goethe describió su aspecto extemo. Ahora es un just arrived to a northern village to teach Greek in a profesor que acaba de llegar a un pueblo del norte a dar private school. He rides to class on a bicycle, is a nature clases de griego en un colegio privado. Acude a dar sus lover, a devoted educator, and a person who seems to be clases en bicicleta, es amante de la naturaleza, constantly searching in the world surrounding him; apasionado educador, y una persona que parece estar always at odds with rules and established modes of en continua búsqueda y en continua discrepancia con behavior. las leyes y las costumbres establecidas. The headmaster of the school asks him to take on a El director del centro le propone dar clases particulares private class with a young boy having problems. He a un niño de corta edad que tiene ciertos problemas. El accpets the offer and, as a consequence, meets the boy's acepta y a través del niño conoce a su madre, Carlota, mother, Carlota, who is separated from her husband. separada hace años del padre del chico. The young man then becomes totally submerged in his A partir de entonces el joven se sumerge totalmente en dedication to the child and in his passionate love for su dedicación al niño y en su apasionado amor por Carlota. A passion which will eventually lead to his Carlota. Una pasión que eventualmente le llevará al suicide. suicidio. XLlil SPANISH' MOVIES FOR THE WORLD EL AÑO DE LAS LUCES Tola" llega después de "Rebom", que Bigas en la década anterior. Su prestigio está Luna rodó en USA con Dennis Hoppery consolidado firmemente en el interior y Dir. FERNANDO TRUEBA Michael Moriarty. Es una historia de amor, avalado en el exterior por diversos premios en crimen y trakJón protagonizada por una los festivales y por galardones como el David x-crítico de dne, remando Trueba tuvo mujer que no consigue escapar con una di Donatello italiano a "Demonios en el una irrupción arroiladora en la dirección reladón sentimental serena a la furiosa jardin" . pasión sexual que le unió anteriormente a un E de películas como "Opera Prima" Con "La mitad del cielo", Gutiérrez Aragón descomunal "boom'de taquilla, filme que hombre rudo y violento. La creatividad de las imágenes potenda el dramático vigor de la prosigue su carrera de éxitos. La pelicula acertó a dibujar el perfil de un amplio sector obtuvo el mayor premio del último Festival de de la juventud española en los 70. historia que interpretan Angela Molina, Feodor Atkine y Patrick Bauchau, uno de los actores San Sebastián y acaba de ser distinguida Trueba, manifiestamente inclinado hacia la de "Choose me", de Alan Rudolph. como la mejor película española de 1986 por comedia como género preferido, logró en un imparcial jurado de treinta críticos. 1986 otro gran impacto con "Se Infiel y no "La mitad del cielo" es la historia de una mires con quien", adaptación de la pieza campesina norteña que. a finales de los años "Move over Mrs. Markham", de Ray Cooney y LULU DE NOCHE 50, llega a Madrid para abrirse camino en la John Chapman. Dir. EMILIO MARTINEZ LAZARO vida. Su trabajo y su ambidón la elevarán ti ano de las luces", su quinta película, le poco a poco en la escala sodal. Es, por tanto, confirma como un director de enorme futuro, una historia sobre el tesón, la voluntad y la puesto que ha alcanzado una madurez que le artínez Lázaro ha dicho, a propósito capaddad de hacerse a sí mismo pese a las permite por igual seducir a los grandes de "Lulu de noche", que le hubiera dificultades. Junto al realismo, una veta de públicos y a los aficionados y críticos mas M gustado hacer una mezcla de "Historias poesía, de leyenda de fantasmas. La exigentes. de Filadelfia" y "Psicosis", aludiendo con ello extraordinaria actriz Angela Molina —que a los dos tonos diversos que confluyen en su acaba de interpretar "Streets of Gold", junto a Sobre un guión propio y de Rafael Azcona película, la comedia radiante y el drama Klaus María Brandauer— hace probablemente —guionista habitual de Saura. Berianga y turbio. la mejor creadón de su cañera en el papel de Ferreri—, TI ano de las Luces" describe con esta mujer ¡ndesmayable. humor y ternura la Iniciación a la vida —al El argumento entronca con la pieza "Lulú", amor, al sexo de un adolescente: que, en de Frank Wedekind —inquietantemente enero de 1940, es internado en un trasladada a la pantalla en "La caja de preventorio —una mezcla de sanatorio y Pandora" con Louise Brooks—, que un director TATA MIA escuela— para recomponer su salud. En tomo de teatro desea montar. Buscando candidatas a este muchacho, un conjunto de personajes, al papel establece reladones con tres mujeres Dir. JOSE LUIS BORAU con sus miserias y grandezas, vistos por muy distintas, tres posibles Lulus, ante las que Trueba con piedad y ternura, de modo que se cruza un saxofón ¡sLa psicópata que os nombres muy importantes en la sus pequeñas historias llegan a conmovemos ejercerá la fundón de Jack el Destripador. historia del dne español se unen en sin dejar que paremos de sonreír. Martínez Lázaro, que obtuvo el Oso de Oro D esta película. De un lado, José Luis de Berlin con su primera película —"Las Borau, director de Tuitivos", Concha de Oro palabras de Max" —, no sólo inteneladona con en el Festival de San Sebastián y una de las CARA DE ACELGA soltura lo trágico y lo cómico, sino que, en películas más taquilleras y más elogiadas por Dir. JOSE SACRISTAN este segundo campo, en un verdadero "tour la crítica durante los últimos veinte años. De de force", delimita líneas de comedia distintas otro lado. Imperio Argentina, gran estrella y que van de la soñstJcación a la muy española diva del dne español, que, en los años 30, on más de den películas en su haber, estética del esperpento. La pelicula es, por protagonizó para la Paramount algunos José Sacristán está considerado como otra parte, un expresivo muestrario de remakes europeos del dne norteamericano C uno de los mejores y más populares algunos de los mejores actores jóvenes dd bajo la direcdón de Florian Rey. actores del dne español. Si su fama surgió de dne español actual: Antonio Resines, Patrida Antes de Tata mía", Borau habla hecho en sus interpretaciones en infinidad de comedias, Adriani, Assumpta Sema, Amparo Muñoz e USA "On the line", con Victoria Abril, David posteriormente demostró sus dotes Imanol Arias, entre otros dramáticas, tal y como puede comprobarse en Cañad i ne, Scott Wílson y Sam Jorfe. Tata mía" otra película de este ddo, "El viaje a ninguna es una tierna, deudosa, divertida y, a ratos, parte". algo sombría también comedia sobre una LUNA DE AGOSTO mujer de unos 40 años que, con el pretexto "Cara de acelga* es su segunda experiencia, de resolver un problema de herenda, tras "Soldados de plomo", como director, Dir. JUAN MIÑON abandona el convento donde vivía como guionista e intérprete a la vez. La critica monja. Esta mujer recurrirá a su vieja nurse española ha relacionado "Cara de acelga" con una de agosto" es la segunda pelicula para amortiguar el choque con el exterior y las road movies, pero también cabe situarla de Juan Miñón, que ya mostrara sus soludonar sus dificultades, entre ellas, la en la tradición de los argumentos itinerantes L cualidades en su primer trabajo, acudante necesidad de establecer reladones de la literatura picaresca española "KargusTco-dirigido con Miguel Angel Trujillo. maduras y plenas con los hombres, rescatar y Sam Spade cuenta en "El halcón maltes" la Miñón, que alterna el dne con la publiddad, abandonar a la vez por siempre su infanda. historia de un tipo que abandona todo y pone vuelve al largometraje, asumiendo ahora en su vida bajo el soplo del azar hasta que se solitario la direcdón, con una pelicula de reencuentra con su pasado y con su punto de sencilla factura que, sin embargo, denota una TIEMPO DE SILENCIO partida Esto le sucede al protagonista de indudable y profunda sensibilidad. "Cara de acelga" en su viaje sin rumbo por las Dir. VICENTE ARANDA En "Luna de agosto" narra el viaje de una carreteras, y la realidad de sus nuevas muchacha española entre Tánger y experiencias adquiere una pátina de Marrakech,en Marruecos, asediada por unos iempo de Silencio" es un terrible fresco ensoñación al imbricarse con la memoria y el ddincuentes que buscan en ella algo que ella sobre el Madrid de fines de 1940 y redescubrimiento de su infancia. El amor, la misma ignora poseer. Con este apoyo lateral T prindpios de los 50, donde en un amistad y la agitada peripecia de un robo en un esquema de intriga, lo que Miñón ambiente golpeado por la rédente guerra civil mueven los hilos de unos personajes vistos describe con finura es la reladón entre esa y sofocado por el peso de ja dictadura, siempre con carino y con una sonrisa chica y un muchacho árabe que se presta a personajes de todas jas dases socales ayudarla en su recorrido. La acddentada partidpan de la lucha por la vida desde evoludón de esa reladón entre la mujer y d posidones de Indefensión, crueldad, LA GUERRA DE LOS LOCOS niño va en paraldo con el descubrimiento que desaliento, miseria económica y moral y, en general, ausencia de futuro. Porque hasta los Dir. MAMOLO MATJI la chica hace de un pafs y de una cultura que le son ajenos, en ocasiones hostiles y, al final, mas inocentes comprobarán que no hay lugar intimamente unidos a su sentimentalidad. para sus pequeñas ilusiones. on *La guerra de los tocos" debuta en Aventura exterior, por tanto, y también La pelicula se basa en una novela del la dirección Manolo Matji, uno de los aventura íntima, proceso de conodmiento, el . mismo titulo del escritor fallecido Luis Martin C más prestigiosos y fecundos guionistas doble riesgo de perder la vida y abrirse a otras Santos, novela cumbre de la escuela realista, del dne español. conviedones. a otros afectos. reformada, sin embargo, por procedimientos A partir de un argumento del novelista Isaac narrativos que hacen pensar en James Jpyce. Montero, Matji cuenta una original historia que Es un drama duro y sin tregua, conduddo por se desarrolla en los albores de la Querrá Civil. MATADOR el veterano director catalán Vicente Aranda Un grupo de internos de un manicomio se con mano maestra, con soberbia suma a una partida que combate del lado de Dir. PEDRO ALMODOVAR ambientadón y una interpretadón la República en el monte, liderada por el irreprochable. Del conjunto de excelentes Rubio', guerrillero mítico en la zona. no de los nombres que en España actores de la pelicula, destaca, junto a Imanol El desvarío de los enfermos contribuye a recibe el "torero" es el de "matador". Arias, la actriz Victoria Abril, que hizo "La lune generar una violencia indiscriminada, U Los protagonistas de esta pelicula son dans le canfveau", con Jean-Jacques Beineix, y, mientras el cabcdlla de los locos asume por un torero retirado, que dirige una escuela de muy redentemente, "Max mon amour". con identificadón la identidad de "el Rubio". tauromaquia, y una atractiva abogada. La Nagisha Oshima. muerte es para ambos una realidad cotidiana. Matji establece metafóricamente una Para él, como desenlace obligado de un acto similitud entre violencia y patología mental, profesional. Para ella, como culmlnadóu que supone un ángulo nuevo en la TOAS EL CRISTAL deseable del placer sexual. La muerte será interpretadón del conflicto civil del 36, al para los dos un destino fatal, trágico y Dir. AGUSTIN VILLARONGA tiempo que desarrolla el clasico tema del seguramente, feliz. "doble" desde una renovada y sugerente perspectiva. Pedro Almodóvar es el director más sta primera pelicula de Agustín Vlllaronga produjo una auténtica Película áspera, implacable en ocasiones, polémico y apasionante de cuantos han surgido en España en los últimos años. Su E conmodón a su paso por el Festival de filmada con una contención y madurez muy Berlín, donde fue objeto de una viva discusión destacables en una primera realizadón. dne combina un peculiar apego a la tradidón cultural española con un personallsimo entre detractores y partidarios, con d entendimiento de la modernidad. En resultado de que la organizadón del certamen dispusiera sucesivas proyecciones fuera de LOLA "Matador" ambas comentes se funden con singular intensidad hasta conectar con una programa. Dir. BIGAS LUNA pulsión universal, del mismo modo que la Cuatro personajes en una casa, un marco tragedla y la comedia se dan dta en un tenso y daustrofóbico, feroz e Insostenible a carrera de Bigas Luna tuvo un fuerte esquema argumenta! en el que no falta la para un ritual de dominadón que supera las espaldarazo inicial cuando "Bilbao", su Intriga policial y, frente al realismo, el fulgor de barreras genéricas y convendonaJes del L segunda película, cosechó excelentes lo fantástico. suspense psicológico. La atraodón críticas a su paso por la Quincena de los irreprimible y el rechazo visceral, un juego Realizadores del Festival de Cannes. Bigas — dramático de fasdnadón y repulsión ante las que estudió arquitectura y es fotógrafo y LA MITAD DEL CIELO prácticas de un antiguo médico nazi diseñador— ofrece en sus filmes un mundo especializado en experimentos dlnlcos con plástico propio —obsesionado por los Dir. MANUEL GUTIERREZ ARAGON niños. A la certeza dd horror, d escalofrío de objetos—, un arriesgado punto de vista que ver la posibilidad de que tal conducta se recoge la dimensión anormal y casi fantástica anuel Gutiérrez Aragón es, tal vez, el reproduzca con el tiempo e Induso se asuma de la realidad. Hay que reconocer que Bigas máximo valor entre cuantos dneastas como actitud de futuro por sus mismas Luna ha encontrado y delimitado su particular M eran considerados como jóvenes a victimas. territorio expresivo dentro del dne español y prindplos de los años 70, después de la ola Tras el Cristal" revela una personalidad europeo. de renovadón que surgió en el dne español XLIV LAS PEUCUIAS cinematográfica incontestable en su director, un potencial en el manejo de las imágenes y los climas que delata, mas allá de cualquier polémica, la existencia cierta de un cineasta a seguir. 27 HORAS Dir. MOrfTXO ARMLTiDARIZ ontxo Armendáriz es otro de los grandes valores del más nuevo cinc M español. Su primera película Tasio", premiada en múltiples países y festivales — entre estos, en Chicago—, deslumhró por su sencillez y belleza. "27 Horas", su segundo largomebajc, ha sido producido también por Elias Querejcta. productor de la mayoría de las películas de Carlos Saura Annendáriz, en "27 Moras" con muy jóvenes interpretes descubiertos para el film, narra las vicisitudes de tres adolescentes —dos chicos y una chica—, unidos por la amistad y el amor, fatalmente anclados en una situación sin horizontes, simbolizada en la adición de dos de ellos a la heroína. Galardonada con la Concha de Plata del Festival de San Sebastián, "27 horas" emociona tanto por su pulcritud documental como por la poética emoción que transmiten sus despojadas imágenes, donde un melancolía» paisaje exterior —mar, cíelo nublado—, extraordinariamente servido por el operador Javier Aguinesarobe, traduce un estado de ánimo interior del que son fiel reflejo las miradas y silencios de los protagonistas. El VIAJE A NINGUNA PARTE Dir. FERNANDO FERNAN GOMEZ emando Teman Gómez es un autentico número uno en el panorama artístico e F intelectual español actual. Autor, director y actor de cine, teatro y televisión, novelista, poeta y columnista destacado en la prensa, Fernán Gómez es una personalidad sin parangón en la vida cultural española. "El Viaje a ninguna Parte", tasada en una de sus novelas, dirigida e ¡nteqjretada por él mismo —al frente de un memorable reparto—, acaba de ser premiada por la Asociación de Directores de One Español como la mejor película de 198G. Fernán Gómez lia recibido también el premio al mejor actor, como ya ocurriera dos veces en el Festival de ISerlin, con "El anacoreta" (1977). de Juan Estelrich. y "Stico" (1985), de Jaime de Anniñán. La película cuenta las andanzas de una compañia de teatro ambulante por los pueblos castellanos durante la posguena española. Es una crónica agridulce, un homenaje luminoso y dolorido al oficio de actor, visto desde la atalaya de la memoria y la experiencia, contemplando la misma vida como una travesía repleta de incidencias que nos traen sonrisas y lágrimas. Entre los interpretes, la joven actriz Laura del Sol, protagonista de "Carmen y "El amor bnijo", de Carlos Saura. WERTHER Dir. FILAR MIRO ealizadora de televisión directora de ópera y teatro — "Childrcn of a l.csscr R God"—, responsable hoy de los dos canales de televisión pública corno antes de la Dirección General de la Cinematografía del Ministerio de Cultura, Pilar Miró se siente sobre todo cineasta y es una de las escasas mujeres que han dirigido peliculas en la historia del cine español. Entre susfilmes. "El crimen de Cuenca", una de las películas más taquilleras de lodos los tiempos en España. A partir de los célebres personajes del drama de Johann Wolfgang Goethe, "Werther" plantea el clásico tema romántico de la posibilidad de morir de amor. Miró ha adaptado los personajes al tiempo actual, de modo que será un profesor de griego, encargado de dar clases a un niño difícil, quien, enamorado de una mujer que finalmente elegirá pemianecer con su marido, se verá empujado a la tragedia. Lo que "Werther" propone no es sólo la vigencia del suicidio por amor, sino el fracaso del amor corno ingrediente de la felicidad y, aún más. el papel que el amor juega en el malestar con nosotros mismos. La película, de estilo impecable e imágenes de fuerza poderosa, está magnificamente interpretada por Eusebio Poncela y Mercedes Sampietro, actriz premiada anteriormente a las órdenes de Pilar Miró por "Gary Cooper Que Estás en Los Cíelos" en el Festival de Moscú. por MANUEL HIDALGO XLV SPANISH MOVIES FOR THE WORLD His latest release is "La Ley del Deseo" (The Law of Desire), completed this last year. FILMrOGRAPHY Shorts and Super-8s 1974 "DOS PUTAS O HISTORIA DE AMOR QUE TERMINA EN BODA" (Two Whores or a Love Story Which Ends in Marriage) "LA CAIDA DE SODOMA" (The Fall of Sodom) 1975 "HOMENAJE" (Tribute) 1976 "LA ESTRELLA" (The Star) 1977 "SEXO VA, SEXO VIENE" (Sex Comes, Sex Goes) "COMPLEMENTOS" (A series of shorts meant to be shown with his feature length films) 1978 "FOLLE, FOLLE, FOLLEME, TIM" (Screw, Screw, Screw Me, Tim) "SALOME" Features Films: 1980 PEPI, LUCI, BOM Y OTRAS CHICAS DEL MONTON" (Pepi, Luci, Bom and a Heap of Other Girls) 1982 "LABERINTO DE PASIONES" (Labyrinth of Passions) 1983 "ENTRE TINIEBLAS" (Dark Hide-Out) 1984 "QUE HE HECHO YO PARA MERECER ESTO?" (What Did I Ever Do to Deserve This?) 1985'TRAYLER PARA AMANTES DE LO PROHIBIDO" (Trailer For Lovers of the Forbidden) PEDRO ALMODOVAR 1986 "MATADOR" 1987 "LA LEY DEL DESEO" (The Law of Desire) lmodovar was born in Calzada de Calatrava in central Spain in 1949. He A has had a widely varied career for such a young man, which has included work in the national Telephone Company, part-time journalist work with musical groups as well as his impressive endeavors as a film director. Almodovar first became known for his underground movies, which have now become classics in the Spanish underground spectrum. He has also been a major figure among the avant-garde literature in Madrid, with one novel to his credit as well as extensive collaboration with magazines and newspapers. His first "commercial" feature film was "PepL Luci, Bom y Otras Chicas del Monton" in 1980 which has been followed by five others over the last five years. His films are without a doubt some of the most interesting on the modem Spanish scene, combining a dark sense of humour with rather bizarre story setting. For example, his "Entre Tinieblas" (Dark Hide-Out) from 1983 dealt with drug dealing in a convent and "Que He Hecho Yo VICENTE ARANDA Para Merecer Esto" (What Did I Ever Do to Deserve This?) tells the tale of a grandmother- e was bom in Barcelona in grandson drug dealing team whose profits are 1926. In 1949 he emigrated to to be used to get grandma back to her village. H Venezuela, returning to Spain in 1956, His 1985 production, "Matador" was where he proceeded to set up his own film presented to wide acclaim this past year in a Spanish Film Series held at UCLA in California. production company, Morgana Films, in Barcelona. XLVI THE DÌRECTORS Aranda is one of the founders of the become a professor in this field at the Rentería "Barcelona School", a group of Catalonian Polytechnical Institute and at the Polytechnical filmmakers whose a esthetics and main Institute of Pamplona. concerns dealt with the introduction of In 1977 he began working with the Basque unsuspected elements into daily life. The Filmmakers Association and went on to make Barcelona School represented a break with a number of documentary shorts. He has now traditional narrative conventions, and an made two feature length films, both of them in imagery influenced by advertising style, collaboration with the well-known Spanish science fiction, etc producer, Elias Querejeta. Aranda himself has experimented with a His first feature film was "Tasio", made in style which combines both comedy, 1984, and which received international critical melodrama, and surrealistic parody, often acclaim. It won numerous awards, among basing his screenplays on adaptations of them the special Golden Plaque for first films novels. at the 1984 Chicago Film Festival, the International Critic's Award at the 1984 San FILMOGKAPHY Sebastian Film Festival, the Fotogramas award 1964 "BRILLAINTE PO VENIR" (Bright Future) to the Best Spanish Film of 1984, as well as 1966 "FATA MORGANA" other awards in Colombia, Brussels and 1968 "LAS CRUELES" (Cruel Women) 1972 "LA NOVIA ENSANGRENTADA" (The Blood-stained Bride) France. 1974 "CLARA ES EL PRECIO" (Clara Is the Price) "27 Horas" (27 Hours) is his second film 1976 "CAMBIO DE SEXO" (Sex Change) 1979 "LA MUCHACHA DE LAS BRAG AS DE ORO" (The Girl in and was first presented at the 1986 San the Golden Panties) Sebastian Film Festival (Concha de Plata- 1981 "ASESINATO EN EL COMITE CENTRAL" (Murder in the Second best Picture Award). Central Committee) 1983 "FANNY PELOPAJA" (Fanny Strawhair) 1985 "TEMPO DE SILENCTO" (A Time for Silence) FILMOGKAPHY Short Films 1979 "BARREGARIAREN DANTZA" - First Prize, Basque Film Awards; Silver "Mikeldi" at Bilbao Documentary Film Festival. 1980 "IKUSMENA" - First Prize, Basque Film Awards at Bilbao Documentary Film Festival. 1981 "CARBONEROS DE NAVARRA" (Charcoalmakers of Nava• rra) Grand Prize, Basque Film Awards at Bilbao Documen• tary Film Festival. Feature Films 1984 "TASIO" - Special International Critic's Award and Athe• naeum of Guipúzcoa at San Sebastian film Festival; Awar• ded special Golden Plaque for Best First Film at Chicago Film Festival; best director and best photography awards at Cartagena Film Festival in Colombia; Cine Découverte Award at Royal Cinematheque Exposition, Brussels; Geor• ges Sadoul Award, 1985, in France. MONTXO ARMENDARIZ ontxo Armendariz was bom in the riavarran village of Olleta. Before M becoming involved in film work he had studied electronics and later went on to XLVII SPANISH MOVIES FOR THE WORLD it is the first of his works that could really be termed a comedy. FILMOGRAFHY 1964 "BRANDY" 1965 "CRIMEN DE DOBLE FRA" (Double-edged Crime) 1974 "HAY QUE MATAR A B" (B Must Die) 1975 "FURTrVOS" (Poachers) 1979 "LA SABDNA" (The Sabine) 1984 "RIO ABAJO" (On the Une) 1986 "TATA MIA" (Nanny Dear) JOSE LUIS BORAU fter having received a law degree from the University of Zaragoza, he went on to Awrite as a film critic for a local newspaper. Driven by his interest in film and his desire to live in Madrid, he applied for and received a position in the Ministry of Housing. In 1957 he entered the Cinema Research and Experience Institute. He eventually left his job in the Ministry to work in advertising. Boraus first venture into directing was with FERNANDO FERNAN GOMEZ short films, until he finally made his first feature film, "Brandy", in 1964. In 1967 he founded his own production company called ernán Gómez was bom in Lima, Peru in "El Iman", providing opportunities for such 1921; three years later he came to Spain with his family. His mother, Carola young directors as Ivan Zulueta, Jaime de F Fernán Gómez, was an actress. He began Arminan and Manuel Gutierrez Aragon. studuing humanities at the university, but the In addition to his own career as a director outbreak of the Spanish Civil War soon put an and producer, he has also taught end to that and he began to dedicate himself screenwriting techniques at the Official School to the theatre instead. He has had good of Cinematography as well as served as fortune in his career since the beginning and, Department Chair of film directing at the without a doubt stands as one of the true University of Valladolid. greats in the world of film and theatre in Spain. Borau lived for some years in Hollywood, His list of triumphs and awards is almost during which time he made the film "Rio endless. Mot only is he one of the most Abajo" (On the Line, 1984), concerning the outstanding Spanish actors, he also has a conflict with immigrants on the Mexican- reputable career as a director in film and American border. theatre, as well as being the author of several novels, one of which is the subject of his latest "Tata Mia" (Manny Dear), which was just film, "El Viaje a Ninguna Parte" (Journey to released in January of 1987, represents a Nowhere), which he both directs and plays a slight twist in the nature of his film making as leading role in. XLVIII THE DIRECTORS He has directed his own theatre company 1961 "LA VENGANZA DE DON MENDO" (Mendo's Revenge), dir. F. Fernán Gómez. and won several awards as a playwright 1965 "NINETTE Y UN SEÑOR DE MURCIA" (Ninette and a Gent• among them the coveted Lope de Vega Award leman from Murcia), dir. F. Fernán Gómez. bestowed by the City of Madrid for his play 1972 "ANA Y IOS LOBOS" (Ana and the Wolves), dir. C. Saura. 1973 "EL ESPIRITU DE LA COLMENA" (The Spirit of the Bee• "Las Bicicletas Son para el Verano" hive), dir. Victor Erice. (Bicycles Are for Summer). 1974 "EL AMOR DEL CAPITAN BRANDO" (Captain Brando's Love), dir. J. de Armiñán. Fernán Gómez has appeared in some one 1975 "PIM. PAN, PUN... FUEGO" (Bang, Bang, You're Dead), dir. hundred and thirty pictures and has directed Pedro Olea. twenty. In 1981 he received the Fine Arts Gold 1976 "EL ANACORETA" (The Anachorite), dir. J. Estelrich - Best Actor award at 1976 Berlin Film Festival. Medal from the Ministry of Culture and he has 1977 "ARRIBA AZAÑA" (Long Live Azaña), dir. J.M. Gutiérrez. twice won the Golden Bear Award for Best 1980 "MARAVILLAS", dir. M. Gutierrez Aragón. Actor at the Berlin Film Festival, in 1976 for his 1984 "LOS ZANCOS" (Stilts), dir. Carlos Saura. performance in J. Estelrich s film "El 1985 "STICO", dir. J. de Armiñán -Best Actor at 1985 Berlin Film Festival. Anacoreta" (The Anachorite) and in 1985 for "DE HOMBRE A HOMBRE", dir. Ramón Fernández. his performance in J. de Armiñán s film "LA CORTE DE FARAON" (The Court of Pharaoh), dir. J.L "Stíco". Garcia Sanchez "LUCES DE BOHEMIA" (Bohemian Lights), dir. Miguel Angel Diez. FILMOGRAPHY "MARBELLA", dir. Miguel Hermoso. "REQUIEM POR UN CAMPESINO ESPAÑOL" (Requiem As Director: for a Spanish Peasant), dir. Franceesc Betriú. 1952 "MANICOMIO" (Insane Asylum) 1986 "MAMBRU SE FUE A LA GUERRA" (Marlborough Went Off 1953 "EL MENSAJE" (The Message) to War), dir. F. Fernán Gómez. 1955 "EL MALVADO CARABEL" (The Evil Caravel) "EL VIAJE A NINGUNA PARTE" (Journey to Nowhere), dir. 1958 "LA VIDA POR DELANTE" (The Life to Come) F. Fernán Gómez. 1959 "LA VIDA ALREDEDOR" (Life All Around) "LA MITAD DEL CIELO" (Half of Heaven), dir. M. Gutiérrez 1960 "SOLO PARA HOMBRES" (For Men Only) Aragón. 1961 "LA VENGANZA DE DON MENDO" (Mendo's Revenge) "CARA DE ACELGA" (Turnip Top), dir. José Sacristán. 1963 "EL MIJNDO SIGUE" (Life Goes On) 1964 "EL EXTRAÑO VIAJE" (Strange Journey) "LOS PALOMOS" (Fools) 1965 "NINETTE Y UN SEÑOR DE MURCIA" (Ninette and a Gent• leman from Murcia) 1966 "MAYORES CON REPAROS" (Adults in a Sense) 1969 "COMO CASARSE EN 7 DIAS" (How to Get Married in 7 Days) 1970 "CRIMEN IMPERFECTO" (Imperfect Crime) 1974 "VO LA VI PRIMERO" (I Saw Her First) 1975 "LA QUERIDA" (The Beloved) 1976 "BRUJA, MAS QUE BRUJA" (Witch, More Than a Witch) 1977 "MI HUA HILDEGART" (My Daughter Hildegart) 1979 "CINCO TENEDORES" (Five Forks) 1986 "MAMBRU SE FUE A LA GUERRA" (Marlborough Went Off to War) "EL VIAJE A NINGUNA PARTE" (Journey to Nowhere) As an Actor 1944 "EL DESTINO SE DISCULPA" (Destiny Apologizes), dir. J.L Saenz de Heredia. 1945 "DOMINGO DE CARNAVAL" (Carnival Sunday), dir. E. Neville. 1946 "IOS HABITANTS DE LA CASA DESHABITADA" (The Residents of the Empty House), dir. G. Delgrás. 1947 "BOTON DE ANCLA" (Anchor Button), dir. R Torrado. 1948 "LA MIES ES MUCHA" (Harvest Is Bountiful), dir. J.L Saenz de Heredia. 1950 "EL CAPITAN VENENO" (Captain Poison), dir. L Marquina. "EL ULTIMO CABALLO" (The Last Horse), dir. E. Neville. "BALARASSA" (Daredevil), dir. JA Nieves Conde. 1951 "ESA PAREJA FELIZ" (That Happy Couple), co-directed by JA Bardem and L.G. Berianga. MANUEL GUTIERREZ ARAGON 1954 "LA OTRA VIDA DEL CAPITAN CONTRERAS" (The Other Life of Captain Contreras), dir. Rafael Oil. 1955 "EL MALVADO CARABEL" (The Evil Caravel), dir. F. Fernán anuel Gutiérrez Aragón was bom in Gómez. 1957 "EL INQUOJNO" (The Tenant), dir. JA Nieves Conde. Torrelavega (Santander) in 1942. He 1958 "LA VIDA POR DELANTE" (The Life to Come), dir. F. Fer• received a degree in Humanities from nán Gómez. M the University of Madrid and went on to 1959 "LA VIDA ALREDEDOR" (Life All Around), dir. F. Fernán Gómez. graduate from the Official School of Film. He XLIX SPANISH MOVIES FOR THE WORLD has made various short films and collaborated on screenplays such as "Furtivos" (Poachers, 1975) by Borau, "Las Largas Vacaciones del 36" (The Long Vacation of'36,1976) by Camino and'Xas Truchas" (The Trout, 1977), by Qarca Sánchez. As a film director he has had a most distinguished career and has been the recipient of numerous awards in international film festivals. His first film, "Habla, Mudita" (Speak, Utile One) won the Critic's Award at the 1974 Berlin Film Festival, and he was given the Best Director Award at the 1977 Berlin Rim Festival. Once again he was awarded as Best Director for "Sonambulos" (Sleepwalkers, 1977) at the 1978 San Sebastian Film Festival. In 1979 his film "El Corazón del Bosque" (The Heart of the Forest 1978) was selected as "Best Spanish Film of the Year" and "Second Best Spanish Film of the Decade" by the public and critic's choice. His film "Demonios en el Jardín" (Demons in the Garden) also won awards in 1982 and 1983 at the San Sebastian, Moscow and Cannes Film BIGAS LUNA Festivals. His most recent garland comes with the "Golden Shell" Award for Best Picture to "La Mitad del Cielo" (Half of Heaven) at the ose Juan Bigas Luna was bom in 1986 San Sebastian Film Festival. Barcelona in 1946. Before launching his Jfilm career he had long been involved in As well as his film endeavors he has also the world of plastic arts and founded the Gris worked in theatre, and in 1979 directed the School of Graphic Arts in 1970. His own work stage version by Peter Weiss of Kafka's novel, has formed part of the collection at the Dali 'The Trial". Museum in Figueras as well as in other private collections. Over the years his endeavors have FILMOGKAPHY included both teaching and publishing in the realm of art He has worked as a collaborator 1973 "HABIA MUDTTA" (Speak, Utile One) - Critic's Award 1974 and professor in the EINA and ELISAVA Berlin Film Festival. 1977 "CAMADA NEGRA" (Black Brood) - Best Director Award schools of design and communication, and Berlin Festival. worked in conjunction with Dr. Luis Fabrega "SONAMBULOS" (Sleepwalkers) - Best Director Award at Poveda to establish a department of 1978 San Sebastian Festival. 1978 "EL CORAZON DEL BOSQUE" (The Heart of the Forest). Psychotherapy Recuperation in Art 1980 "MARAVHXAS" - Silver Hugo from 1981 Chicago Film Festival. He began his film career in the mid 1970s 1982 "DEMONIOS EN EL JARDIN" (Demons in the Garden) - as executive producer of twelve short films International Critic's Award at San Sebastian and Moscow made in conjunction with Pep Cuxart for ClriE- Film Festivals. 1983 "FEROZ" PROMO, SA He made his first feature length 1984 "LA NOCHE MAS HERMOSA" (The Most Beautiful Night). film in 1976, TATUAJE" (Tattoo), and has 1986 "LA MITAD DEL CIELO" (Half of Heaven) - Best Picture since gone on to make various features as well Award at 1986 San Sebastian Film Festival. as collaboration in television as both director and producer. His most recent film, "Angustia" has just been completed (1986) and is now awaiting release. FILMOGKAPHY 1974-1977 12 short films made with Pep Cuxart for CINE- PROMO SA, as executive producer. 1976 "TATUAJE" (Tattoo). 1978 "BILBAO" "CANICHE" (Poodle). L Trie DIRECTORS ~ 1981 "REBORN" 1984 "KEW". Television series (director and producer). FILMOGRAPHY 1985 "LOLA" 1987 "ANGUSTIA" 1971 "VICTOR FRANKENSTEIN" sketch in the film "PASTEL DE SANGRE" (Blood Pastry). 1978 "LAS PALABRAS DE MAX" (Max's Words) - Golden Bear Award at 1978 Berlin Film Festival. 1980 "SUS ANOS DORADOS" (Golden Years) - Pablo Iglesias Award. 1984 "TODO VA MAL" (Everything's Going Wrong). 1985 "LULU DE NOCHE" (Lulu by Night). EMILIO MAKTINEZ-LAZARO e was bom in Madrid in 1945 and his first studies were in physics at the H University of Madrid. His first contact with MANUEL MATJI the film world came through his affiliation with film associations and his contributions to film anuel Matji was bom in Madrid in magazines. 1943. He carried out his studies in film M production and has worked as a His first experience as a director was with screenplay writer since 1972. He was worked short films, a medium in which he worked for in collaboration on scripts for such directors as several years. He then went on to work as a Eugenio Martin, Vicente Escrivà, Pedro Masso, screenwriter and assistant director in feature Mario Camus, Fernando Colomo and length productions, working with such Fernando Mendez-Leite. directors as Ricardo Franco and Qonzalo Suarez. In addition to this he has worked as associate producer in various films, among In 1973 he began working as a director and them: Fernando Trueba s "Opera Prima", adaptor in television, and has directed Fernando Colomo's "La Nano Negra" (The television productions of such authors as Poe, Black Hand), and "El Hombre de Moda" (A Melville, Juan Benet, and Miguel Angel Stylish Man), directed by F. Mendez-Leite. Asturias. Matji makes his debut as a director with his His own first feature film was "Las Palabras film "La Guerra de Los Locos" (The War of de Max" (Max's Words), which won the Golden the Loonies, which was made this last year Bear Award for best film at the 1978 Berlin (1986). Film Festival. Since that time he has directed • three other major films, the latest of which is "Lulu de Noche" (Lulu by night) in 1986. SPANISH MOVIES FOR THE WORLD JIJAN MIÑON PILAR MIRO e was born in Madrid in 1953. Before he was bom in Madrid. After having beginning his film career he took a studied journalism and law she H degree in political science at the S obtained a degree from the Official University of Madrid in 1975. He then went on School of Cinematography in 1968. As a to earn another degree in the science of scriptwriter and director for Television information and image making also at the Española she specialized in dramatic works of University of Madrid in 1978. He continued to both modem and classical authors, such as study advertising and journalism throughout Dickens, Dostoevsky, Strindberg OTieill, Tirso 1979. de Molina and Lope de Vega. She made her He also traveled to the U.S. where he studied debut as a motion picture director in 1976 film production at the University of Southern with an adaptation of Zola's "Petition". She California in the summer of 1976. found herself surrounded by controversy concerning her second film, "El Crimen de In 1979 he began working with Cuenca" (The Crime of Cuenca), which commercials for television as well as writing received strong public reaction due to what scripts for both short and long film features. was considered an inferred insult aimed at the As a director, "Luna de Agosto" (August Spanish military institution. The film is a Moon), shot in 1985, is his second feature narration of an historical fact which took place length film. The first "Kargus", which he co- in Spain in the early part of the century. directed with MA Trujillo, was given the award for originality at the 1984 Zimbaue Rim In 1982, after the Socialists triumph at the Festival. polls, she was named General Director of Cinematography, a post which she held until FILMOGKAPHY the end of 1985. During this legislative period the policies concerning film making in Spain 1977 "PIEZA COKTA PARA TEATRO DE GUERRILLA" (Short underwent many changes which served to Piece for Guerrilla Theatre) Short film. 1978 "EL AZOTE DE LAS CARNES" (Scourge of the Flesh) strengthen the industry in general. Among the Short Rim. laws which were put into effect while she was 1980 "KARGUS" Feature film, co-directed with MA Trujillo. Director was the Law for the regulation and Recipient of Special Merit Award from the Spanish Ministry of Culture. Award for Originality in the 1984 Zimbaue Film protection of the national film industry. Festival. Her most recent film is "Werther" which 1985 "LUNA DE AGOSTO" she made upon leaving her post with the Lll TjjE DJRECTORS ~ Ministry of Culture. However, she has just recently returned to an administrative position, having been appointed as General Director of Radio and Television Española. JOSE SACRISTAN FILMOGRAPHY CREDITS (partial) acristán began working in Television independent theatre at a young age, going on to debut as a professional in "LITTLE DORRir. by C Dickens. S "HUMILIATED AND OFFENDED", by F. Dostoyevski. 1962 with the Lope de Vega Company, under "VANITY FAIR", by W. Thackeray. the direction of José Tamayo. In that same "CALIFORNIA TALES", by Bret Harte. year Pedro Masó offered him his first film role "ADVENTURES OF A GERMAN STUDENT', by W. Irving. "THE GOLDEN BUG", by EA Poe. in "La Familia y Uno Más" (The Family and "EUGENIE GRANDET", by Balzac One More). He continued to work in various "DESIRE UNDER THE ELMS", by O'Neill. supporting roles over the next few years, "MRS. WARREN'S PROFESSION", by B. Shaw. "OPERA EN MARINEDA", by E. Pardo Bazán. establishing himself as a professional. During 'LOS TRES MARIDOS BURLADOS", by Tirso de Molina. these years he alternated between film, the "LAS PAREDES OYEN" (The Walls Hear), by Sor Juana Inés de la stage and television, including two seasons of Cruz. "DECAMERON", by Boccaccio. work as a comic tenor in the zarzuela (light "SUBLIME DECISION", by M. Mihura. opera) theatre. Apart from his outstanding film "FOUR ENCOUNTERS", by H. James. career, he has also held leading parts in some "A BUEN JUEZ MEJOR TESTIGO", by J. Zorrilla. "DANZA MACABRE", by A Strindberg. of the most important stage productions in "STORM", by A Strindberg. Spain. "RAFFLES", "LILI", etc Sacristan's big break in motion pictures Theatre came from the director Roberto Bodegas, who 1981 "CHILDREN OF A LESSER GOD", by M. Medoff. offered him the lead in "Vida Conyugal Sana" (A Healthy Married Life) in 1973. Since Opera that time he has worked in over ninety 1982 "CARMEN", by Q. Bizet pictures. He has also recently tried his hand at directing, with two films to his credit The first '''ilniography of these was "Soldados de Plomo" (Tin 1976 "LA PETICION" (The Petition). 1979 "EL CRIMEN DE CUENCA" (The Crime of Cuenca). Soldiers), which he directed, played in and also 1981 "GARY COOPER QUE ESTAS EN LOS CIELOS" (Gary wrote the screenplay for, together with Eduardo Cooper, Who Art in Heaven). 1982 "HABLAMOS ESTA NOCHE" (We'll Speak Tonight). Mendoza, in 1983. His second film as director 1986 "WERTHER". and actor is "Cara de Acelga" (Turnip Top) which has just recently been released (1987) and for which he also wrote the screenplay. As well as working on his own film in 1986, he almost played the major role in Fernando Fernán Gomez's latest film, "El Viaje a Ninguna Parte" (Journey to Nowhere). He has by no means lost his passion for theatre, and is presently working with the actress Charo López in a play in Buenos Aires, titled "Una Jornada Particular" and directed by Carlos Gandolfo. Sacristán won the award for Best Actor at the 1977 San Sebastian Film Festival for his performance in Pedro Oleas film "Un Hombre Llamado Flor de Otoño" (A Man Called Autumn Flower). FILMOG RAPHY As Director: 1983 "SOLDADOS DE PLOMO" (Tin Soldiers). 1986 "CARA DE ACELGA" (Turnip Top). SPANISH MOVIES FOR THE WORLD As Acton 1965 "LA FAMILIA Y UNO MAS" (The Family and One More), dir. F. Palacios. 1968 "SANGRE EN EL RUEDO" (Blood in the Bullring), dir. R Gil. 1969 "COMO CASARSE EN SIETE DIAS" (How to Get Married in Seven Days), dir. F. Fernán Gómez. 1970 "PIERNA CRECIENTE, FALDA MENGUANTE" (Waxing Leg, Waning Skirt), dir. J. Aguirre. 1971 "ESPAÑOLAS EN PARIS" (Spanish Girls in Paris), dir. R. Bodegas. 1973 "VIDA CONYUGAL SANA" (Healthy Married Life), dir. Roberto Bodegas. 1974 "MI MUJER ES MUY DECENTE. DENTRO DE LO QUE CABE" (My Wife is Very Decent As Far As It Goes), dir. A Drove. "LOS NUEVOS ESPAÑOLES" (The New Spaniards), dir. Roberto Bodegas. 1975 "LAS LARGAS VACACIONES DEL '36" (The Long Vaca• tion of'36), dir. J. Camino. 1976 "PANTALEON Y LAS VISITADORAS" (Pantaleon and the Lady Quests, cordirectors, J.M. Gutiérrez and M. Vargas Llosa "BEATRIZ", dir. Gonzalo Suárez. "ASIGNATURA PENDIENTE" (Pending Subject), dir. J.L Garci. 1977 "UN HOMBRE LLAMADO FLOR DE OTOÑO" (A Man Called Autumn Flower), dir. Pedro Olea - Best Actor award at 1977 San Sebastian Film Festival. 1978 "SOLOS EN LA MADRUGADA" (Alone At Daybreak), dir. J.L Garci. "REINA ZANAHORIA" (Queen Carrot), dir. Gonzalo Suárez. FERNANDO TRUEBA "EL DIPUTADO" (The Delegate), dir. Eloy de la Iglesia. "OPERACION OGRO" (Operation Ogre), dir. Gilo Pontecorvo. e was born in Madrid in 1955. He studied 1979 "LA MUERTE DEL TERCER PERSONAJE" (The Death of the Third Character) dir. H. Soto. image and photography in the School "MIEDO DE SALIR DE NOCHE" (Fear of Going Out at H of Information Sciences. He then Night), dir. E. de la Iglesia became film critic for "El Pais", Spain's major 1980 "NAVAJEROS" (Knife Fighters), dir. E. de la Iglesia 1981 "LA CRHTA" (The Crypt), dir. C. del Real. newspaper, and for the "Quia del Ocio", a 1982 "LA COLMENA" (The Beehive), dir. M. Camus. guide to entertainment published in Madrid, "ESTOY EN CRISIS" (I'm Having a Crisis), dir. R. Colomo. he worked for these two publications from 1983 "SOLDADOS DE PLOMO" (Tin Soldiers), dir. José Sacristán. 1975 to 1979, at which time he became a 1984 "EPROGO" (Epilogue), dir. Gonzalo Suárez. founding member of the magazine "LA VAQUILLA" (The Heifer), dir. Luis G. Berlanga. "Casablanca", and was Managing Editor in 1985 "A LA PALIDA LUZ DE LA LUNA" (By the Pale Light of the 1981 and 1982. Moon), dir. J.M. Gonzalez Sinde. 1986 "VIAJE A NINGUNA PARTE" (Journey to Nowhere), dir. He began working as a screenwriter in 1980, Femando Fernán Gómez. "CARA DE ACELGA" (Turnip Top), dir. J. Sacristán. working on the scripts for Fernando Colomo's "La Mano Negra" (The Black Hand); "A Contratiempo" (Counterpoint), directed by Oscar Ladoire in 1981; and "De Tripas Corazdn" (Plucking Up Courage), Julio Sanchez Valdes' 1985 production. He was also the executive producer for the latter two films as well as for Emilio Martinez-Lazaro's "Lulu de Noche" (Lulu By night), made in 1985. He has written and directed various short films as well as six feature length films. "Se Infiel y No Mires Con Quien" (Be Wanton and Tread Mo Shame), the comedy which he made in 1985, has been one of the all time box office hits in Spanish history. His newest release, "El Ano de Las Luces" (The Year of Awakening), has just opened in Madrid in January of this year. LIV THE DÌRECTORS FILMOGRAPHY which won the Sant Jordi Award for the best short film of 1980. 1980 "OPERA PRIMA" (First Work). 1982 "MENTRAS EL CJJERPO AGUAIYTE" (As Long As the Body From 1981 on he has dedicated himself Can Take It). exclusively to art direction, and in the last five 1983 "SAL GORDA" (Bad Taste). 1985 "SE INFILL Y NO MIRES CON QUIEN" (Be Wanton and years he has worked on the films: "Barcelona Tread No Shame). Sur" (Barcelona South), "Objetivo Sexo" 1986 "EL ANO DE LAS LUCES" (The Year of Awakening). (Objetive, Sex), "Interior Rojo" (Red Interior), and the TV special "La Plaza del Diamante". "Tras El distal" (In a Glass Cage) is his first major feature film as both director and screenwriter, which was filmed in 1985. AGUSTIN VILLARONGA noticeable characteristic of Villaronga's film work as a whole, both as producer A and director, can be seen in the deep roots it maintains with the plastic visual arts, stemming from his experience as a professor °f image as well as his career in journalism. He has worked in the production of various theatre works for directors such as Pere Planella, Ricard Safvat and Victor Garcia, notably in the latters production of "Yerma", the famous work by Garcia Lorca. He then began to work in film production with such directors as Manuel Gutierrez Aragon, Jose Antonio de la Loma, Jordi Wadena, Luis Racionero, and Jose Larrz. He has also written and directed three short films: Anta Mujer" (1975), which was given a special Award of Merit by the Ministry of Culture; "Al Mayurka" (1976-1979), which won the International Jury Award at the Bilbao Film Festival as well as a Special Award of Merit by the Ministry of Culture; and "Laberint" (1979), LV SPANISH MOVIES FOR THE WORLD "MATER AMATISIMA", dir. J A Salgot 1981 "ASESINATO EN EL COMITE CENTRAL" (Murder in the Central Committee), dir. Vicente Aranda. 1982 "LA COLMENA" (The Beehive), dir. Mario Camus. "LE BATARD" (The Bastard), dir. Bertrand van Effentere (France). "RIO ABAJO" (On the Une), dir. J.L Borau.(US). 1983 "BAJO EL SIGNO DE PISCIS" (Under the Sign of Pisces), dir. Pierre Zucca. "LAS BICICLETAS SON PARA EL VERANO" (Bicycles Are for Summer), dir. Jaime Chávarri. 1984 "LA NOCHE MAS HERMOSA" (The Most Beautiful Night), dir. Manuel Gutiérrez Aragón. "PADRE NUESTRO" (Our Father), dir. Francisco Requiero. "AFTER DARK", dir. Dominique Otheni Gerard. 1985 "LA HORA BRUJA" (The Witching Hour), dir. Jaime de Armiñán. TEMPO DE SRENCIO" (A Time of Silence), dir. Vicente Aranda. "MAX, MON AMOUR", dir. Oshima. "VADE E TORNO" (I Leave and Return), dir. Gian Carlo Giannini (Italy). VICTORIA ABRIL he was bom in Madrid on July 14^ 1959. She began studying dance at the age of S eight and devoted herself exclusively to ballet until she was fourteen. She got her first chance at movie work when she was 15, in the film "Obsession", directed by F. Laga Polop, and from then on film began to replace dance as her first calling. She has gone on to prove herself to be one of the most versatile and talented young actresses in Spain today. She has also made a place for herself in French filmmaking and has basically resided in France since 1982. In the past few years she ahs become a well-known face throughout Europe, making films in Switzerland and Italy as well. Abril has been twice nominated for the PATRICIA ADRIANI Cesar award in France, and she recently received the best actress award for her overall he was bom in Madrid and began to career from the Association of Spanish Film work in film at the young age of Directors. S seventeen. She has been in constant In addition to her work in films, she has also demand by Spanish film directors since the worked widely in television and theatre. beginning of her career and has appeared in important leading roles in a number of films FILMOGKAPHY over the past few years. 1975 "OBSESSION", dir. F. Lara Polop. She has a fresh, natural, yet mysterious air "ROBIN AND MARIAN", dir. Richard Lester. about her that works beautifully on the screen. "ROBIN HOOD", dir. Dino Rissi. Some of her more important performances 1976 "DONA PERFECTA" (Lady Perfect), dir. Cesar F. Ardavin. 1977 "ESPOSA Y AMANTE" (Wife and Lover), dir. Angelino have been in "Dedicatoria", directed by Fons. Jaime Chavarri in 1980, and most recently her 1979 LA MUCHACHA DE LAS BRAGAS DE ORO" (The Crirl in roles in "Lulu de Noche" (Lulu by night), the Golden Panties), dir. Vicente Aranda. LVI THE STARS directed by E. Martinez-Lazaroin 1985, and in the Comedia de Buenos Aires Theatre. After "Luna de Agosto" (August Moon), directed by making various tours through South America J. Miñón, also in 1985. she made Spain her home in 1923. While She has also worked in television and acting in Madrid's Romea Theatre she was theatre, having worked in the stage discovered by the director Florian Rey, who productions of M. Bilbatúa's "La Celestina" directed her in many films and also became (1981) and in Shakespeare's "King Lear" in her husband. 1982. Hers has been a career interrupted by wars and finding herself working in such varied FILMOGRAPHY countries as Germany, Italy, and France. At 1979 "PSYCHE", dir. Body Qabor. times this was by choice, but at others it was a 1980 "SUS AÑOS DORADOS" (Golden Years), dir. Emilio matter of financial and political complications. Martínez-Lázaro. She made a series of remakes in Paris for "DEDICATORIA" (The Man Who Had Dogs), dir. Jaime Chavarri. Paramount in the early thirties which were 1981 "EL NIDO" (The nest), dir. Jaime de Armiñán. highly successful and where she worked with "KARGUS", co-directed by Juna Miñón and MA Trujillo. such leading men as Carlos Qardel and 1982 "SffiTE CALLES" (Seven Streets), dir. J. Rebollo. 1983 "LAS BICICLETAS SON PARA EL VERANO" (Bicycles Are Maurice Chavalier. From there she went on to For Summer), dir. Jaime Chávarri. make two of the most famous movies in the "ULTIMAS TARDES CON TERESA" (Last Afternoons With history of Spanish film making- "Nobleza Teresa), dir. Q. Herralde. TODO VA MAL" (Everything's Going Bad), dir. E. Baturra" (1935) and "Morena Clara" (1936), Martínez-Lázaro. both of which were directed by her husband, 1985 "DE TRIPAS CORAZON" (Plucking Up Courage), dir. J. Florian Rey. She became one of the most Sánchez Valdés. beloved heroines on the screen, characterized "LULU DE NOCHE" (Lulu by night), dir. E. Martínez-Lázaro. by quick wit ever-flashing eyes, and a knack "LUNA DE AGOSTO" (August Moon), dir. Juan Miñón. for getting into and out of trouble at will. "PASION LEJANA" (Distant Passion), dir. J. Garay. From 1951 on she basically worked in musical and theatre productions. As one of the highlights of her career, she performed at Carnegie Hall in 1952 on her U.S. tour. Until her appearance in J.L Borau's new film, "Tata Wfia" (Nanny Dear), she had not appeared on the screen since 1965, when she made "Con el Viento Solano" (With the Eastern Wind). However, her appearance in Borau's film marks a return to performing for her, and she has plans to work both in films and on the stage in the near future. She presently lives in Benalmädena on the Costa del Sol. FILMOGRAPHY 1927 "LA HERMANA SAN SULPICIO" (Saintly Sister Sulpicio), dir Florian Rey 1928 "CORAZONES SIN RUMBO" (Hearts Without Direction), dir. B. Perojo. 1930 "EL PROFESOR DE MI MUJER" (My Wife's Teacher), dir. Florian Rey. 1931 XINOPOLIS". dir. J.M. CastelM. "SU NOCHE DE RODAS" (Her Wedding Night), co- directed by L Mercanton and Florian Rey. 1934 "EL NOVIO DE MAMA" (Mom's Boyfriend), dir. Florian Rey. 1935 "NOBLEZA BATURRA" (Brute nobility), dir. F. Rey. 1936 "MORENA CLARA", dir. F. Rey. IMPERIO ARGENTINA 1938 "CARMEN, LA DE TRIANA", dir. Florian Rey. 1939 "LA CANCION DE AIXA", dir. Florian Rey. mperio Argentina, one of the true greats in 1940 "TOSCA", dir. K. Koch. 1942 "GOYESCAS", dir. B. Perojo. the history of Spanish film, was bom when 1945 "BAMBU" (Bamboo), dir. J.L Saenz de Heredia. I her parents were on a theatrical tour in 1946 "LOS MAJOS DE CADIZ", dir. B. Perojo. Argentina in 1906. She made her official debut 1947 "LA COPLA DE LA DOLORES" (The Song of Dolores), dir. B. Perojo. at the age of twelve with the dance company of 1948 "LA CIGARRA" (Cigala), dir. Florian Rey. SPANISH MOVES FOR THE WORLD I960 "AMA ROSA" (Love Rose), dir. L Klimovsky. best foreign film and has been commercially 1965 "CON EL VENTO SOLANO" (With the Eastern Wind), dir. Mario Camus. distributed in the U.S. 1986 "TATA MIA" (Nanny Dear), dir. J.L Borau. He has emerged as one of the most important leading men in modem Spanish film. Among his latest performances are his leading roles in 'Tiempo de Silencio" (A Time for Silence), directed by Vicente Aranda, and '"Lulu de Noche" (Lulu by night), by the director Emilio Martínez Lázaro. FILMOGKAPHY 1976 "LA COREA" (Korea), dir. Pedro Olea. 1980 "CECILIA", dir. Humberto Solas. "LABERINTO DE PASIONES" (Labyrinth of Passions), dir. Pedro Almodovar. "DEMONIOS EN EL JARDIN" (Demons in the Garden), dir. M. Gutiérrez Aragón. "BEARN, O LA SALA DE LAS MUÑECAS" (Beam, or The Doll's Room), dir. Jaime Chávarri. 1983 "LA MUERTE DE MIKEL" (The Death of Mikel), dir. Imanol Uribe. 1984 "CAMILA" (Camille), dir. Maria Luisa Bemberg. 1984 Oscar nominee. 1985 "LUCES DE BOHEMIA" (Bohemian Lights), dir. Miguel Angel Diez. "LULU DE NOCHE" (Lulu by Night), dir. Emilio Martinez Lázaro. "TEMPO DE SR.ENCIO" (A Time of Silence), dir. Vicente Aranda. "FUEGO ETERNO" (Eternal Fire), dir. José Angel Rebolledo. IMANOL ARIAS om in Riaño (León) in 1956. As a youth he moved to Eibar (Vizcaya) where he B took a degree in industrial engineering. He began as an actor in the University Theatre as well as with the independent group, Marrazko Zezen. He went to Madrid in 1975 and studied for three years at the School of Dramatic Arts. He performed in a number of important plays by Valle Inclán, Calderón, Pirandello, Beckett and Aristophanes. In 1979 he became a member of the new national company at the national Drama Center. He was given several leading roles and spent two years of hard work dedicated to the stage. He eventually created his own company which would perform a version of Shakespeare's Midsdummer nights Dream, under the direction of the Royal Shakespeare an Company's, David Perry. He made his first film appearance in "La Corea" (Korea) by Pedro Olea in 1976. Since that time he has made a number of important ANTONIO BANDERAS films in Spain as well as other countries. He e was bom in Malaga in 1960 and his played a leading part in the film "Camila" attratjon to acting began at a very early (Camille), directed by Maria Luisa Bern berg H age. He studied theatre at the school of which received a 1984 Oscar nomination for Dramtatic Arts in Malaga and his first stage LVIII The STARS experience came working with independent groups there. Banderas moved to Madrid in 1981 to work professionally in the theatre and since that time has enjoyed a brilliant and virtually uninterrupted career in theatre, motion pictures and television. Among his outstanding stage performances have been his roles in "La Ciudad y Los Perros" (The City and the Dogs) and Christopher Marlowe's "The Tragedy of Edward II of England". Both of these works were directed by Lluis Pascual at the Maria Guerrero Theatre in Madrid, which is the equivalent of the Odeon in Paris. 1985 was a very busy year for him in movies and he played leading roles in four Spanish Alms; "Requiem por un Campesino Español" (Requiem for a Spanish Peasant) by Francisco Betriu, "La Corte de Faraón" (The Court of Pharaoh) by José Luis Garcia Sánchez, "Caso Cerrado" (Case Closed) by Juan Caño, and "Matador" by Pedro JOSE MANUEL CEKVINO Almodóvar. His latest film performances are in om in Arona (Tenerife, in the Canary "27 Horas" (27 Hours), directed by Montxo Islands) in 1940. He first began working Armendáriz and Pedro Almodóvars Xa Ley in theatre in the T.E.U. (independent del Deseo" (Law of Desire). B university theatre group) at the University of La In addition to his career as an actor, Laguna. In 1960, various members of the Banderas is also an avid enthusiast of modem group, including Cervino, formed their own music and a musician in his own right, having company, "El Tinglado", which came to hold appeared in concert on occasion with the a respectable position of its own among Joaquin Sabina group. He has recorded one contemporary peers and made a considerable album and is involved in projects concerning contribution to culture in general on the his own original music islands. F1LMOGRAPHY In 1962 he moved to Madrid to begin his career as an actor in earnest He worked with 1982 "LABERINTO DE PASIONES" (Labyrinth of Passions), dir. Duria Esperts company in the "Lope de Vega", Pedro Almodóvar. which was directed by Jose Tamayo, then 1983 "DEL SEGURO LIBRANOS SEÑOR" (Lord, Free us From Insurance), dir. Antonio del Real. going on to work with Miguel Narros in his 1984 "EL SEÑOR GALINDEZ" (Mr. Qalindez), dir. Rodolfo early years as the director of the National Kuhn. Company in the Teatro Espanol in Madrid. In "EL CASO ALMERIA" (The Almena Case), dir. Pedro Costa. recent years he has combined his theatre "LOS ZANCOS" (Stilts), dir. Carlos Saura. work with numerous appearances in television 1985 "REQLTEM POR UN CAMPESINO ESPAÑOL" (Requiem productions as well as his busy career in films, for a Spanish Peasant), dir. Francisco Betriu. "LA CORTE DE FARAON" (The Court of Pharaoh), dir. J.L the most recent of which is his fine Garcia Sánchez. performance in Manuel Matji's "La Guerra de "CASO CERRADO" (Case Closed), dir. Juan Caño. Los Locos" (The War of the Loonies) (1986). "MATADOR", dir. Pedro Almodóvar. 1986 "27 HORAS" (27 Hours), dir. Montxo Armendáriz. "LA LEY DEL DESEO" (The law of Desire), dir. Pedro FILMOGKAPHY Almodóvar. 1976 "COLORIN COLORADO" (Happily- Ever After), dir. J.L Gar• cia Sanchez. "EL PERRO" (The Dog), dir. Antonio lsasi. 19771 "SONAMBULOS" (Sleepwalkers), dir. Manuel Gutierrez Aragon. 1978 "SIETE DIAS DE ENERO" (Seven Days in January), dir. JA Bardem. 1979 "EL TUNEL" (The Tunnel), dir. Gillo Pontecorvo. EL CRIMEN DE CUENCA" (The Crime of Cuenca), dir. Pilar Miro. LIX SPANISH MOVIES FOR THE WORLD 1980 "MARAVILLAS", dir. Manuel Gutiérrez Aragón. "EL CRACK", dir. José Luis Garci. Ninguna Parte" (Journey to Nowhere), made 1981 "LA FUGA DE SEGOVIA" (Escape from Segovia), dir. this last year. Imanol Uribe. "GARY COOPER QUE ESTAS EN LOS CIELOS" (Gary FILMOGKAPHY Cooper, Who Art in Heaven), dir. Pilar Miró. 1982, "EL CIRCULO DE LAS PASIONES" (Circle of Passion), 1983 "CARMEN", dir. Carlos Saura. dir. Claude D'Anna. 1984 "LAS BICICLETAS SON PARA EL VERANO" (Bicycles Are 1983 "EL PICO" (Shooting Up), dir. E. de la Iglesia. for Summer), dir. Jaime Chávarri. 1986 "ADIOS, PEQUEÑA" (Goodbye, Little One), dir. Imanol "LOS STANCOS" (Stilts), dir. Carlos Saura. Uribe. THE Hrr", dir. J. Frears (Britain). TA GUERRA DE LOS LOCOS" (The War of the Loonies), "MATIAS PASCALE", dir. Mario Manicelli (Italy). dir. Manuel Matji. 1985 "EL AMOR BRUJO" (Love, the Magician), dir. Carlos Saura. 1986 "EL VIAJE A NINGUNA PARTE" (Journey to Nowhere), dir. Femando Fernán Gómez. LAURA DEL SOL aura del Sol was bom into a family of ALVARO DE LUNA ballet dancers in 1962. By the age of om in Madrid in 1936. He had begun fifteen she had become a member of the L his studies in medicine when, in 1956, Spanish Classical Ballet directed by her he began to find himself in demand for parents. This company was a huge success in B action scenes in movies —"Spartacus" the production of the "Anthology of the "Solomon and the Queen of Sheba" Zarzuela" directed by Jose Tamayo. "Sodom and Gomorrah", "The Last Days of Her big break in film came when she was Pompeii"...— because of his skills at fencing discovered by Carlos Saura, Antonio Gades, javelin throwing and horseback riding. In roles and Emiliano Piedra, who were searching for a of this type he worked all over Europe, in Italy, leading actress to portray Carmen in their France, Yugoslavia, as well as in Spain. 1983 film release. In 1964, he began working in television in Following the international success of Spain, and began to build up his repertoire as a "Carmen" she has worked with various theatre actor as well. In 1965 he was given his directors in pictures in Italy and England as first role as a main character in Antonio Isasi's well as in Spain. In 1985 she returned to work film "Estambul 65" (Istanbul 65). Since that with Saura and Gades once again in their time he has continued to combine a stage production of "El Amor Brujo" (Love, the and screen career which also includes Magician). Her latest performance is in frequent appearances in major roles in Fernando Feman Gomez's "El Viaje a television productions. In this respect he LX THE STARS received an award for Best Actor from the and working in earnest on his career as an Television Rim Festival in Montecarlo in 1977. actor. He also received a prize from the Association He has worked with some of the most of Columnists in New York in 1983 for his prestigious directors in Spain and won his performance in "Dulces Horas" (Sweet first award as Best Actor in 1969 —granted by Hours). the Screenwriters Circle in Spain— for his performance in Carlos Saura's film "Stores Es FILMOGKAPHY Tres, Tres" (Stress Threesome). "ANTES LLEGA LA MUERTE" (Death Arrives First), dir. He lived in Mexico between 1979 and 1984, Romero Marchen. where he worked intensively in theatre, 1983 "DULCES HORAS" (Sweet Hours), dir. Paco Lara. 1984 "TEO EL PELIRROJO" (Teo Carrot-Top), dir. Paco Lucio. television and film productions. On his return 1986 "LA GUERRA DE LOS LOCOS" (The War of the Loonies), to Spain in 1984 he continued in television dir. Manuel Matji. with the popular TV series 'Turno de Oficio" "LUNA DE LOBOS" (Wolf Moon), dir. Valdes. (Public Defender). 1985 and 1986 also found "MI GENERAL" (My General), dir. Jaime de Arminân. him quite busy with his leading roles in Antonio Criménez-Rico's "El Disputado Voto del Señor Cayo" and his most recent performance in Manuel Matji's "La Guerra de Los Locos" (The War of the Loonies). FILMOGKAPHY 1965 "ACTEON" (Actaeon, dir. Jorge Grau. 1966 "MAÑANA SERA OTRO DIA" (Tomorrow's Another Day), dir. Jaime Camino. 1968 "STRES ES TRES, TRES" (Stress Threesome), dir. Carlos Saura 1977 "EL LADRIDO", dir. Pedro Lazaga 1979 "LA CAMPANADA" (Toll of the Bell), dir. Jaime Camino. 1986 "EL DISPUTADO VOTO DEL SEÑOR CAYO", dir. Antonio Giménez-Rico. "LA GUERRA DE LOS LOCOS" (The War of the Loonies), dir. Manuel Matji. ALFREDO LANDA lfredo Landa was bom in Pamplona, in northern Spain. Before becoming JUAN LUIS GALIARDO Ainvolved in acting he took a degree in law from the University of San Sebastian. In om in San Roque (Cadiz) in 1940. In 1958 he moved to Madrid where he began to 1956 he moved to Madrid to study work in dubbing and in theatre. He made his Bengineering, where his interest in film debut in 1962 and from 1966 on his cinema increased as a result of his constant career has been exclusively dedicated to contact with students from the School of motion pictures. Cinematography. He finally dropped his Landa is one of the most popular and engineering studies and entered the School of talented actors in Spanish film making. He is Cinematography himself in 1961. There he also one of the most experienced; his gained his first practical experience working appearance in J.L Borau's newest film, "Tata with fellow students such as, Pedro Olea, Mia" (Nanny Dear) makes his ninety-ninth Manolo Summers, Carlos Serrano, Santiago appearance on the screen, and over 70 of San Miguel, Enrique Toran and Luis these have been in the leading role. Cuadrado among others. For years he worked almost exclusively in From there he went on to gain experience in comedy, for the most part delivering theatre, joining the School of Dramatic Arts performances concerning the comic side of LXI SPANISH MOVIES FOR THE WORLD the Spanish middle-class man. But in 1976, coinciding with the political transition in Spain, he began to work in more dramatic roles, offering splendid performances and working MARGARITA LOZANO with some of the greatest Spanish directors. he was bom in Murcia in 1931. She His merit as an actor has by no means gone came from a military family and her unnoticed in international circles and in 1984, S dream from the time she was a child he won the Best Actor Award at the Cannes was to become an actress. In spite of the Film Festival for his role in "Los Santos opposition of her family, she moved to Madrid Inocentes" (The Holy Innocents), directed by where she began to work in the Maria Mario Camus. Guerrero Theatre, one of the most important in Madrid. Although her true desire is to work FILMOGRAPHY in movies she winds up working for some time 1962 "ATRACO A LAS TRES" (Robbery at Three), dir. José on the stage. Some of her more important Maria Forqué. roles from this period (1950s) were in 1963 "EL VERDUGO" (The Executioner), dir. Luis Q. Berlanga). "LA NIÑA DE LUTO" (Qirl in Mourning), dir. M. Summers. "Señorita Julia" (Miss Julie), by Strindberg- 1965 "NINETTE Y UN SEÑOR DE MURCIA" (Ninette and a "Fedra", by Miguel de Unamuno; "Music in Gentleman from Murcia), dir. Femando Fernán Gómez. the Night", by Priestley; and 'The Rose 1967 "NO SOMOS DE PIEDRA" (We're Not Made of Stone), dir. Tattoo", by Tennessee Williams. M. Summers. 1969 "EL ALMA DE SERENA" (The Soul of Serenity), dir. J.L She initiated her film career in 1952 and Saenz de la Heredia. 1970 "NO DESEARAS AL VECINO DEL QUINTO" (You over the next twelve years worked with some of Wouldn't Want the Fifth Floor Neighbor), dir. R Fernandez. the major directors in Spain, among them was 1971 TENTE A ALEMANIA, PEPEI" (Come to Germany, Pepe!), the 1961 film by Luis Buñuel, "Viridiana". She dir. Pedro Lazago. 1974 "CUANDO EL CUERPO SUENA" (When the Body Calls), then received offers to make films in Italy, dir. LM. Delgado. which she eventually made her home, working 1976 "EL PUENTE" (The Bridge), dir. Antonio Bardem. with the most prestigious filmmakers of the 1978 "LAS VERDES PRADERAS" (Green Pastures), dir. J.L Gard. time: Risi, Bolognini, Loy, Leone, Pasolini, 1981 "EL CRACK" (The Crack), dir J.L Garci. Brass and the Taviani brothers, but to name a 1982 "LA PROXIMA ESTACION" (The Next Station), dir. A few. Mercero. 1984 "LOS SANTOS INOCENTES" (The holy Innocents), dir. For family reasons she moved to Mario Camus,- Award for Best Actor at 1984 Cannes Madagascar (Africa) where she lived for 12 Film Festival. "LA VAQUILLA" (The Heifer), dir. Luis G. Berlanga. years; 12 years in which she did not appear 1985 "LOS PARAISOS PERDIDOS" (Lost Paradise), dir. Basilio either on stage or on the screen. Further• M. Patino. more, she had no intention of resuming her 1986 "BANDERA NEGRA" (Black Flag), dir. Pedro Olea. "TATA MIA" (Nanny Dear), dir. J.L Borau. acting career, and only did so at the insistence LXII THE STARS of Paolo and Vittorio Taviani, with whom she has made several movies since her return to the screen in their film "La Notti di San Lorenzo" in 1981. Her protrayal of the grandmother in Manuel Gutierrez's "La Mitad del Cielo", which won the award for Best Picture at the 1986 San Sebastián Rim Festival, marks her re-entry into the Spanish film scene. According to a recent interview, she admits that she has got the film making bug in her system once again, and we can be sure that we will be seeing more of her. FILMOGKAPHY 1952 "HERMANO MENOR" (Younger Brother), by D. Viladomat "MANICOMIO" (Insane Asylum), by F. Fernán Gómez and Luis M. Delgado. 1954 "ALTA COSTURA" (High Fashion), by L Marquina. "UN DIA PERDIDO" (A Lost Day), by José M. Forqué. 1957 "RAPSODIA DE SANGRE" (Rhapsody in Blood), by Anto• nio Isasi. 1959 "DIEGO CORRIENTES", by Antonio Isasi. "EL LAZARILLO DE TORMES" (The Blind Man's Guide from Tormes), by César Ardavln. CARMEN MAURA "UN ANGEL TUVO LA CULPA" (An Angel Was to Blame), by Luis Lucia. armen Maura was bom in Madrid, 1961 "VDUDIANA", by Luis Buñuel. grand-daughter of Antonio Maura, a "EL HOMBRE DEL EXPRESO DE ORENTE" (The Man on the Orient Express), by F. Borja Moro. Cfamous politician and one of the great 'TERESA DE JESUS", by Juan de Orduña. figures in Spanish history. At the age of twenty 1962 "EL SOL EN EL ESPEJO" (Sun in the Mirror), by Antonio Maura became director of an art gallery and Román. "UN DEMONIO CON ANGEL" (An Angelic Demon), by five years later initiated her acting career in Miguel Uuch. supperclub theatre, bit parts in vaudeville and "NOCHE DE VERANO" (One Summer's Night), by Jorge musical shows. Throughout the boom of Grau. 1963 "EL PRECIO DE UN ASESINO" (A Murderer's Price), by supperclub theatres in Madrid, Maura was the Miguel Uuch. unchallenged queen of the genre. "LOS TARANTOS", by F. Rovira Beleta. "LOS FARSANTES" (The Actors), by Mario Camus. She then made the jump to serious theatre "CRIMEN" (Crime), by Miguel Uuch. work and was signed on to work with the "LOS FELICES 60" (The Happy Sixties), by Jaime National Drama Center company. She worked Camino. 1964 "AMADOR" (Animal Trainer), by Francisco Regueiro. with them for a season before going on to "PER UN PUGNO DI DOLLARI " (A Fistful of Dollars), by television work where she got her big break. Sergio Leone. She was the popular hostess for the Spanish 1967 "tt, PADRE DI FAMIGLIA" (Head of the Family), by Nanni Loy. TV program "Esta Noche" (Tonight), for which 1968 "DIARIO DI UNA SCHIZOFRENICA", by Nelo Risi. she won every top award in television, the most "UN BELLISIMO NOVEMBRE" (That Splendid Novem• important being the Ondas Award ber), by Mauro Bolognini. "QUINDICI FORCHE PER UN ASSASSINO", by N. (Broadcasting) and the Silver Shell at the San Malasomma. Sebastian Festival. 1969 "PORCRJE" (Pigsty), by Pier Paolo Pasolini. "BALTAGUL", by Mircea Muresan. Maura went on to work further in television, 1970 "R, PRESIDENTE DEL BORGOROSO F.C." by Filippo appearing in adaptations of some of the major d'Amico. classical as well as modem plays. 1971 "LA VACANZA", by Tinto Brass. 1981 "LA NOTTE DI SAN LORENZO", by Paolo 6f Vittorio In recent years Carmen Saura has become Taviani. one of the most highly respected comediennes 1983 "KAOS", by Paolo & Vittorio Taviani. 1985 "LA MESSA E FINITA", by N. Moretti working in Spanish film. She has played "JEAN DE FLORET', by C. Berry. leading roles in almost all of Pedro 1986 "R, GIORNO DELLA DIA", by G. Ferrara. Almodovars films, as well as playing the lead "BUONGIORNO BABRONIA", by Paolo & Vittorio Taviani. "LA MITAD DEL CD5LO" (Half of Heaven), by Manuel in "Se infiel y No Mires con Quien" (Be Gutiérrez Aragón. Wanton and Tread No Shame), one of the most successful box office hits in Spain in recent years. LXIII ^^SPANISH MOVIES FOR THE WORLD FILMOGRAPHY that she has given in the few short years since her career in films began is truly impressive. 1977 "TIGRES DE PAPEL" (Paper Tigers), dir. Fernando Colomo. Her merit as an actress has by no means gone 1979 "LA MANO NEGRA" (The Black Hand), dir. Fernando unnoticed as she has been the recipient of Colomo. numerous awards. She won the Best Actress 1980 "PEPL LUCL BON Y OTRAS CH1CAS DEL MONTON" award at the 1979 New Delhi Film Festival for (PepL'Luci, Bom and a Heap of Other Girls), dir. Pedro Almodovar. her protrayal in "La Sabina" (The Sabine), "QUE HACE UNA CHICA COMO TU EN UN LUGAR directed by J.L. Borau; the Best Actress award COMO ESTE?" (What's a Girl Like You Doing in a Place for "Demonios en el Jardín" (Demons in the Like This?), dir. F. Colomo. 1982 "ENTRE TINIEBLAS" (Dark Hide-Out), dir. Pedro Garden) at the 1982 Montreal Film Festival, Almodovar. and most recently she received the award for 1984 "QUE HE HECHO YO PARA MERECER ESTO?" (What Best Actress at the 1986 San Sebastián Film Did 1 Do To Deserve This?), dir. Pedro Almodovar. 1985 "MATADOR", dir. Pedro Almodovar. Festival for her splendid work in""La Mitad del "SE INFILL Y NO MIRES CON QUIEN" (Be Wanton and Cielo" (Half of Heaven). She was also the Tread No Shame), dir. Fernando Trueba. recipient of the David di Donatello Award for 1986 "TATA MIA" (Nanny Dear), dir. J.L Borau. "LA LEY DEL DESEO" (The Law of Desire), dir. Pedro Best Actress in 1986 in Italy. Almodovar. Some of her most recent work has been with Lina Wertmuller in her film "Camorra" (1985), with J. Roth in his film "Golden Streets" (1986), in addition to her leading role in "La Mitad del Cielo", directed by M. Gutiérrez Aragón Angela Molina has also recently made her debut as a singer, with the 1986 release of her new album, ""Con las Defensas Rotas" (Broken-Down Defenses), which she recorded with Georges Moustaki. FILMOGRAPHY 1975 "LA CIUDAD QUEMADA" (The Burnt City), by A Ribas. "LAS LARGAS VACACIONES DEL '36" (The Long Vaca• tion of '36), by J. Camino. 1976 "EL HOMBRE QUE SUPO AMAR" (The Man Who Knew How to Love), by M. Picazo. "CAMADA NEGRA" (Black Brood), by M. Gutiérrez Aragón. 1977 "NUNCA ES TARDE" (Its Never Too Late), by J. de Armiñán. "A UN DIOS DESCONOCIDO" (To An Unknown God), by J. Chavarri. "LA PORTENTOSA HISTORIA DEL PADRE VICENTE" (The Miraculous Life of Father Vicente), by C. Mira. "ESE OSCURO OBJETO DEL DESEO" (That Obscure ANGELA MOLINA Object of Desire), by L Buñuel, France. 1978 "LOS RESTOS DEL NAUFRAGIO" (The Remains of the ngela Molina was bom in Madrid, the Shipwreck), by R Franco. "LTNGORGO", by L Comencini, Italy. daughter of famed actor and singer "EL CORAZON DEL BOSQUE" (The Heart of the Forest), Antonio Molina. She began to study by M. Gutiérrez Aragón. A 1979 "LA BONA NOTIZIA", by E. Petri, Italy. dance at an early age and later went on to "LA SABINA" (The Sabine), by J.L Borau. study drama at tine Madrid Academy of "OPERACION OGRO" (Operation Ogre), by G. Dramatic Artas. Pontecorvo. 1980 "KALTGESTELLT', by B. Synkel, Germany. This talented young woman has very rapidly 1982 "OCCHI-BOCCA", by M. Bellochio, Italy. risen to be one of the most exciting leading "DEMONIOS EN EL JARDIN" (Demons in the Garden), by actresses in Spanish film today. Her talent has M. Butiérrez Aragón. "BEARN" by J. Chavarri. been internationally recognized as evidenced 1983 "NOTHING LEFT TO LOSE", by W. Glouna, Germany. by the wide number of fine directors with "LA BELLA OTERO", a RAI. production, Italy. whom she has worked, not only in Spain but 1984 "QUO VADIS", a RAI. production, Italy. "FUEGO ETERNO", by JA Rebolledo. Italy, Germany and France as well. 1985 "COUP FOURRE", by G. Vergez, France. The number of outstanding performances "TENGO ALGO QUE DECIRLE" (I Have Something to Tell You), by H. Tirmarche (Video). LXIV THE STARS "CAMORRA", by Una Wertmuller, Italy. "Matador" in 1985, as well as his fine "LOLA", by Bigas Luna. performance in "La Mitad del Cielo" (Half of "EL RIO DE ORO" (The Golden River), by J. Chavarri. 1986 "LA MITAD DEL CffiLO" (Half of Heaven), by M. Gutierrez Heaven) made by M. Gutiérrez Aragón in 1986. Aragon Best Actress Award at 1986 San Sebastian Film Festival. FILMOGKAPHY 1984 "TASIO", dir. Montxo Armendariz. 1985 "EXTRAMUROS", dir. Miguel Picazo. "CASO CERRADO" (Case Closed), dir. Juan Caño. "MATADOR", dir. Pedro Almodovar. 1986 "LA MITAD DEL CD5LO" (Half of Heaven), dir. M. Gutiérrez Aragón. "LA LEY DEL DESEO" (The law of Desire), dir. Pedro Almodovar. INACHO MARTINEZ lthough Nacho Martinez is a relative newomer to motion pictures, he is by no A means a newcomer to the profession of acting. He first began working with theatre groups while still studying for his BA at the University of Oviedo (Asturias). Throughout the AMPARO MUÑOZ seventies he worked with a number of mparo Muñoz was bom in Malaga, in the independent theatre groups in the north of Spain until he eventually moved to Madrid. south of Spain. Her name was launched Once there he continued to perform with A into the limelight in 1974 when she was Summer theatre productions and went on the elected Miss Universe. A few months later she road with companies who performed classical made international headlines once more, as themes taken from Spanish Romance works. In she became the first and only, woman to the summers of 1981 and 1982 he worked renounce the title. with the Antonio Quirau Company. After turning in her crown she went on to resume her movie career which she had He made his movie debut in the film begun in 1973 with her appearance in the film "Tasio" by Montxo Armendariz in 1984. He "Vida Conjugal Sana" (Healthy Married Life). then had two minor roles in the films She has since worked in numerous films, in "Extramuros" by Miguel Picazo in 1985 and the Philippines and in Mexico as well as in "Caso Cerrado" by Juan Cano, and went on Spain. to play a major role in one episode of a recent Spanish television series, "Los Pazos de She has worked with some of the most Ulloa", directed by Gonzalo Suarez. prestigious directors in Spain, among them Carlos Saura, with whom she made the film Among his latest work is the lead part which "Mama Cumple LOO Años" (Mama Turns he played in Pedro Almodovar's film One Hundred) in 1979. Saura's film was an LXV SPANISH MOVIES FOR THE WORLD Oscar nominee for Best Foreign Film that year and she received an award for Supporting Actress in the Brussels Film Festival for her performance. She lived out of Spain for some years, working in Mexico and the Philippines, returning recently to resume her career in film and TV here. Among her most recent films are '"La Reina Del Mate" (Queen to Maté), directed by Fermín Cabal and in which she played the starring role, and in "Lulu de Noche" (Lulu By Night), directed by Emilio Martínez-Lázaro. FILMOGRAPHY 1973 "VIDA CONYUGAL SANA" (Healthy Married Life), dir. Roberto Bodegas. 1974 "CLARA ES EL PRECIO" (Clara Is the Price), dir. Vicente Aranda. "TOCATA Y FUGA DE LOLITA" (Lolita's Elopement), dir. Antonio Drove. 1975 "SENSUALIDAD" (Sensuality), dir. Germán Uorente. "MAURICIO MON AMOUR", dir. Juan Bosh. "VOLVORETA", dir. JA Nieves Conde. 1976 "LA OTRA ALCOBA" (The Other Bedroom), dir. Eloy de la MARISA PAREDES Iglesia. 1977 "DEL AMOR Y LA MUERTE" (Of Love and Death), dir. arisa Paredes is one of the most well Giménez Rico. 1978 "DEDICATORIA" (The Man Who Had Dogs), dir. Jaime known actresses in Spain today, where Chavarri. Mher career has largely been in 1979 "MAMA CUMPLE 100 AÑOS" (Mama Turns One Hundred), television. She is a relative newcomer to dir. Carlos Saura Film nomintated for Oscar - She receives Supporting Actress Award at Brussels Film Festival. motion picture work, nevertheless, she has 1980 "SI LAS MUJERES MANDARAN" (If Women Were in already worked with most of the great Spanish Charge), dir. J.M. Palacio. directors, both on stage and on the screen. 1981 "LA MUJER DEL MINISTRO" (The Minister's Wife), dir. Eloy de la Iglesia. In the last few years she has appeared in "EL GRAN MOGOLLON", dir. Tito Fernández. leading roles in such films as "El Perro" (The 1982 "HABLAMOS ESTA NOCHE" (Well Speak Tonight), dir. Pilar Miró. Dog), by Antonio Isasi; 'Xas Bicicletas Son 1983 "THE BEAUTIFUL ANIMAL", dir. Joan Sebastián. Para EI Verano" (Bicycles Are for Summer), 1984 "AL BALCON ABIERTO" (Open Balcony), dir. Jaime directed by Jaime Chavarri and "Entre Camino. 1985 "LA REINA DEL MATE" (Queen of Maté), dir. Fermín Cabal. Tinieblas" (Dark Hide-Out), directed by Pedro "LULU DE NOCHE" (Lulu by Night), dir. Emilio Martínez-Lá• Almodovar. 1985 and 1986 were two busy zaro. years for her as she made three movies: the controversial and highly interesting "Tras El Cristal" (In a Glass Cage), directed by the young director Agustín Villaronga; "Tata Mia", Jorge Borau's latest film; and José Sacristan's new release, "Cara de Acelga" (Turnip Top). In addition to her motion picture and TV work, she has also appeared in leading roles on the stage; outstanding among these has been her performance in "Can On a Hot Tin Roof and "Revolta de Bruixes" by José Maria Benet i Jomet FILMOGRAPHY 1976 "EL PERRO" (The Dog), dir. Antonio Isasi. 1983 "ENTRE TINIEBLAS" (Dark Hide-Out), dir. Pedro Almodo• var. 1984 "LAS BICICLETAS SON PARA EL VERANO" (Bicycles Are for Summer), dir. Jaime Chavarri. LXVI THE STARS 1985 "TRAS EL CRISTAL" (In a Glass Cage), dir. Agustin Television Villaronga. "EUGENE GRANDET', by E. Balzac 1986 TATA MIA" (Manny Dear), dir. J.L Borau "LOOK BACK IN ANGER", by J. Osborne. "CARA DE ACELGA" (Turnip Top), dir. Jose Sacristan. THE MAGIC MOUNTAIN", by T. Mann. THE BANDITS", by Schiller. "MRS. WARREN'S PROFESSION", by B. Shaw. "LOS GOZOS Y LAS SOMBRAS", by Torrente Ballester. "LAS AVENTURAS DE PEPE CARVALHO", by Vazquez Montalban. Theatre 1968 "MARAT-SADE", by P. Weiss. 1971 "SABORAMH2L"(Tasteofrloney),byDelani. ROMEO AND JULIETTE", by Shakespeare. 1976 "CEMENTERIO DE COCHES" (Car Burial Ground), by F. Arrabal. 1979 "HOLIDAY MAKERS", by Gorki. 1984 "CAT ON A HOT TIN ROOF', by T. Williams. 1985 "FULL FOR LOVE", by Sam Shepard. EUSEBIO PONCELA as bom in Madrid, it seems like yesterday... I was educated in the W "distinguished" neighborhoods of Embajadores, Vallecas and San Bias. I completed my studies with various worthy jobs such as a plasterer, watchman at a "car cemetery", dope dealer, etc.. I blemished my career somewhat by entering the Madrid Higher School of Dramatic Arts, but I was able to redeem myself somewhat by almost never attending classes. FRANCISCO RABAL Haste (economically speaking) forced me into working on the stage, as well as in films abal was bom in Aguilas (Murcia) in and on TV, where an accomplice named Pilar 1926. His career in films really began Miro had the courage to trust in me and bring Rwhen he got a job working as an my name out into lights., and that is the way electrician at a Madrid film studio. This gave things have gone up until now; she has him the opportunity to appear as an extra or brought me luck. in a occasional stand-in or bit part From there he went on to work in the theatre, making his FILMOGKAPHY first stage appearance at the age of twenty, and continuing to work for years with some of the 1978 "OPERACION OGRO" (Operation Ogre), by G. most prestigious companies in Madrid. 79 Pontecorvo. 1980 "ARREBATO" (Rapture), by Ivan Zuleta. In 1950 he played his first leading role in a 1982 "EL ARREGLO" (The Arrangement), by J A Zorrilla. 1985 "MATADOR", by Pedro Amodovar. film, thereby initiating one of the most 1986 "WERTHER", by Pilar Miro. interesting wide-ranging and productive careers in Spanish filmmaking. He has worked with some of the most important directors the ml LXVII SPANISH MOVIES FOR THE WORLD world over, such as Buñuel, Antonioni, Vlsconti, and Glauber Rocha. His impressive career has included MERCEDES SAMPIETRO appearances in some one hundred and thirty films and in 1984 he was given the special ercedes Sampietro was bom in national Film Award by the Spanish Ministry Barcelona. From an early age her of Culture. The following year, in 1985, he also M dream was to become a ballerina. At received the award for Best Actor at the the age of 13 she first danced in public and Cannes Film Festival for his outstanding has not left the stage since. performance in "Los Santos Inocentes" In 1968 she enrolled at the Theatre Institute (The Holy Innocents). of Barcelona and began working with an experimental theatre group, Cataro. Her first FILMOGRAPHY chance as a professional came when she 1950 "LUNA DE SANGRE" (Bloody Moon), dir. F. Rovira Belta. replaced an actress for twenty days in the Jose 1953 "LA GUERRA DE DIOS" (God's War), dir. Rafael Gil. Triana comedy "La Noche de Los Asesinos" 1955 "HISTORIAS DE LA RADIO" (Radio Stories), dir. J.L (The Night of the Assains). Saenz de Heredia. 1958 "NAZARIN". dir. L Buñuel. She then moved to Madrid and began to 1961 "VDUDIANA". dir. Buñuel. work with Ana Diosdado in theatre, also going "EL ECUPSE", dir. Antonioni. 1962 "NOCHE DE VERANO" (Summer Night), dir. J. Grau. on tour to South America with one of 1963 "LLANTO POR UN BANDIDO" (Lament for a Bandit), dir. Diosdado's productions. This was followed by C Saura. a return to Barcelona to work in children's 1966 "BELLE DE JOUR", dir. L Buñuel. "LE STREGHE", dir. L Visconti. theatre for two seasons. 1977 "SORCERER/THE WAGES OF WAR", dir. W. Friedkin (US). After coming back to Madrid, Sampietro 1981 "RENACER" (Reborn), dir. Bigas Luna (US). 1982 "LA COLMENA" (The Beehive), dir. M. Camus. alternated between the stage, television, and 1984 "SAL GORDA" (Bitter Taste), dir. F. Trueba. dubbing foreign films into Spanish. Her "EPILOGO" (Epilogue), dir. Gonzalo Suárez. television credits are extensive and include "LOS SANTOS INOCENTES" (The Holy Innocents), dir. M. Camus. Best Actor Award at 1985 Cannes Film Festival. productions of works by such authors as "PADRE NUESTRO" (Our Father), dir. Francisco Requiero. Chekhov and Vallejo. 1985 "LOS PARAISOS PERDIDOS" (Lost Paradise), dir. B. Martin Patino. She has worked extensively with the director TA VIEJA MUSICA" (Old Music), dir. M. Camus. Pilar Miro, having appeared as the leading lady "LA HORA BRUJA" (The Witching Hour), dir. J. de in four of her films. She received the Best Armiñán. Best Actor Award at 1985 Valladolid Film Festival. Actress Award at the Moscow Film Festival for "LUCES DE BOHEMIA" (Bohemian Lights), dir. MA Diez. her performance in Miro s "Gary Cooper Que "CAMORRA", dir. Lina Wertmuller. Estas en Los Cielos" (Gary Cooper, Who Art 1986 TIEMPO DE SILENCIO" (A Time of Silence), dir. Vicente Aranda. in Heaven) in 1981. She was once again awarded as Best Actress at the 1985 San Sebastian Film Festival for her splendid performance in Miguel Picazo's "Extramuros". She has continued to combine stage work with her film career and in the last few years has played the role of Queen Elizabeth in Dada Maraini's "Mary Stuart" as well as appearing in Marlowe's "The Tragedy of Edward II". FILMOGRAPHY 1977 "UN DIOS DESCONOCIDO" (To an Unknown God), by J. Chavarri. 1978 "LOS OJOS VENDADOS" (Blindfolded), by C Saura. "QUE HACE UN CHICA COMO TU EN UN SITIO COMO ESTE" (What's a Girl Like You Doing in a Place Like This), by F. Colomo. 1979 "EL CRIMEN DE CUENCA" (The Crime of Cuenca), by Pilar Miro. 1980 "GARY COOPER QUE ESTAS EN EL C1ELO" (Gary Cooper Who Art in Heaven), by P. Miro. 1981 "EL TAMBOR DEL BRUCH" (The Legend of the Drum), by J. Grau. LXVIII The STARS 1982 "ESTOY EN CRISIS" (I'm Having a Crisis), by F. Colomo. 1979 "LA MIEL" (Honey), dir. Pedro Masó. "HABLAMOS ESTA NOCHE" (We'll Speak Tonight), by P. 1980 "DOS Y DOS SON CINCO" (Two Plus Two Equals Five), Miró. dir. J.L Comedón. 1985 "EXTRAMUROS", by Miguel Picazo. "DE PILLO A PHXO". dir. Ignacio F. Iguino. 1986 WERTHER", by P. Miró. 1981 "LA REBELION DE LOS PAJAROS" (The Bird Rebellion), dir. J.L Comedón. TLA LEYENDA DEL TAMBOR" (The Legend of the Drum), dir. Jorge Qrau. 1982 "CONAN EL BARBARO" (Conan the Barbarian), dir. John Milius. "VALENTINA", dir. José Betancor. "MAR BRAVA" (Brave Seas), dir. Angelino Fons. "VIVIR MAÑANA" (Live Tomorrow), dir. Nino Quevedo. 1985 "MAMBRU SE FUE A LA GUERRA" (Marlborough Went Off to War), dir. Femando Fernán Gómez. 1986 "EL AÑO DE LAS LUCES" (The Year of Awakening), dir. Femando Trueba. three hundred other boys, to play the part of a prostitute's son in "La Miel" (Honey), which was directed by Pedro Masó. From that point on Jorge has worked continuously, both in films and in television, ASSUMPTA SERNA and has proved himself to be a true ssumpta Sema was bom in Barcelona in professional with a bright future in store for 1957. She had a strong desire to him as an actor. This last year he played a become an actress from an early age leading role in a very successful TV series A but had to fight against family opposition to "Segunda Enseñanza" (High School see her dreams fulfilled. Education), appeared as the lead in "El Año de Las Luces" (The Year of Awakening), She studied law but alternated her university Fernando Trueba's newest film (1986), as well studies with classes at the Theatre Institute in as appearing in "Mambrú Se Fue a La Barcelona. After three years she left her law Guerra" (Marlborough Went Off to War) in studies and dedicated herself to her career as Femando Fernán Gomez's 1985 film. an actress. Throughout all his professional endeavors he She got her start in the Catalonian has also kept up his pre-university studies. Independent Theatre. She worked in an In 1982, when he was but 13 years old, he experimental production of "Don Juan" which v^as given the Best Actor Award at the Manila was staged by the vanguard Barcelona group International Film Festival for his incredible "El Borne" in 1977. She then continued in Performance in José Betancor's "Valentina". independent theatre productions, worked in two Catalonian film productions and then FlLMOGRAPHY moved to Madrid. LXIX SPANISH MOVES FOR THE WORLD It is not always easy to break into the film world but shortly after coming to Madrid Carlos Saura, the well-known Spanish director, chose her for a leading role in his film "Dulces Horas" (Sweet Hours). It was at this time that she blossomed as one of the most fascinating faces on the scene in Spanish filmmaking today. She has worked in Spanish television as well as for the Italian RAI. She worked in a film shot in Lisbon, "Le Cercle de Passions", directed by Calude DAnna. She has definitely caught the eye of the international press. The weekly, "Variety", states that such a sensitive and pixyish personality has not been seen since Audrey Hepburn. She is one of the most sought after actresses in Spain as evidenced by the large number of productions in which she has worked in the last few years. FILMOGKAPHY made her Spanish television debut in "El Crimen del Capitán Sánchez" (The Crime of 1978 "LA ORGIA" (The Orgy), dir. F. Bellmunt Captain Sánchez), directed by Vicente Aranda. 1979 "SALUT Y FORCA AL CANUT" (Health, Lust and Fun), dir. This was one of the episodes in the series "La F. Bellmunt "EL CRIMEN DE CUENCA" The Crime of Cuenca), dir. Huella del Crimen" (The Tracks of Crime), Pilar Miró. one of the finest series to come out of Spanish "POLVOS MAGICOS" (Magic Powder), dir. J.R. Larraz. television. 1980 "SIETE CABALGAN HACIA LA MUERTE" (Seven Riders Toward Death), dir. J.L Merino. In combination with her work in television "FUGA EN LA NOCHE" (FLight at Night), dir. J. Sánchez. she began to work in motion pictures and "EL SECUESTRO" (The Kidnapping), dir. Pedro Masó. "PATRIMONIO NACIONAL" (National Patrimony), dir. J.L within the space of two short years she has Berianga. already worked with some of the top directors 1981 "VECINOS" (Neighbors), dir. A Bermejo. in Spain. She has appeared in "El Sueño de "LA CRIPTA" (The Crypt), dir. Cay del Real. "DULCES HORAS" (Sweet Hours), dir. C. Saura. Tánger"! (A Dream of Tangier) together "LA REBELION DE LOS PAJAROS" (The Bird Rebellion), with the Fabio Testi and directed by Ricardo dir. Comerón. Franco, "El Orden Cómico" by José María 1982 "LE CERCLE DEL PASSIONS", dir. Claude D Anna. "COTO DE CAZA" (Hunting Ground), dir. Jorge Crrau. Forqué, in "27 Horas" (27 Hours) by Montxo 1983 "SOLDADOS DE PLOMO" (Tin Soldiers), dir. José Armendariz, "EL Año de Las Luces" (The Sacristán. Year of Awakening) by Fernando Trueba and, 1984 "MARTA", dir. F. Mimet "EL JARDIN SECRETO" (The Secret Garden), dir. C. most recently, in Eloy de la Iglesia's new film Suárez. "La Estanquera de Vallecas" (The Tobacco "IL CALICE DI MURANO" (RAI), dir. Sergio Martj.no. Lady From Vallecas). 1985 "EXTRAMUROS", dir. Miguel Picazo. "LA VIEJA MUSICA" (Old Music), dir. M. Camus. All this is quite an accomplishment for a "LULU DE NOCHE" (Lulu by Night), dir. Emilio young girl who has not yet reached 20 and it is Martínez-Lázaro. "LOLA", dir. Bigas Luna. obvious she has a great future in store for her. "MATADOR", dir. Pedro Almodovar. 1986 LA PLAYA DE LOS PERROS" (Dog Beach), dir. José FILMOGKAPHY Fonseca. "EXTRAÑO MENSAJE" (Strange Message), dir. Carlos 1985 "EL ORDEN COMICO" (The Comic Order), dir. José Maria Bempar. Forqué. "EL SUEÑO DE TANGER" (Dream of Tangier), dir. Ricardo Franco. 1986 "27 HORAS" (27 Hours), dir. Montxo Armendariz. "EL AÑO DE LAS LUCES" (The Year of Awakening), dir. Fernando Trueba. "LA ESTANQUERA DE VALLECAS" (The Tobacco Lady MARIBEL VERDU from Vallecas), dir. Eloy de la Iglesia. aribel Verdu was bom in Madrid in Television 1971. She started out working in 1984 "EL CRIMEN DEL CAPITAN SANCHEZ" (Captain Sanchez's Crime), dir. Vicente Aranda. M advertising and commercials and LXX THE STARS LXXI AND BI&GQMNECTIONS SMALL ONES. The world today requires air travel on a scale far grander than any known in the past. Iberia the International Airlines of Spain, has risen to that challenge. We link 21 European cities, 15 Middle Eastern and African cities, and 27 cities throughout North and South America. Our international capabilities in fact earned Iberia stature as the third largest airline in all of Europe. We also operate the biggest network of domestic airports in western Europe. Come fly the world on Iberia. Our connections are very convenient and our credentials impeccable. Our experience as a major airline has taught us that passengers want to be treated as people first. Whether it s serving an extra cup of hot coffee to a weary businessman or treating a first time flyer to an unexpected gift. We try never to forget that a heartfelt smile, a simple courtesy, can turn the most ordinary flight into an enjoyable journey. Call your travel agent today and suggest Iberia. We just may be the airline you've been waiting for. £7» iBBR/JXB AIRLINES OF SPAIN THE BEST CONNECTIONS IN THE WORLD MEAN NOTHING IF AN AIRLINE FORGETS THE HUMAN ONE. INDEX/INDICE — Presentation/Presentación — A New Harvest/Los segundos frutos — The films — "EL AÑO DE LAS LUCES" (The Year of Awakening) — "CARA DE ACELGA" (Turnip Top) — "LA GUERRA DE LOS LOCOS" (The war of the loonies) — "LOLA" — "LULU DE NOCHE" (Lulu by Night) — "LUNA DE AGOSTO" (August Moon) —"MATADOR" — "LA MITAD DEL CIELO" (Half of Heaven) — "TATA MIA" (Nanny Dear) — "TIEMPO DE SILENCIO" (A Time of Silence) — "TRAS EL CRISTAL" (In a Glass Cage) — "27 HORAS" (27 Hours) — "EL VIAJE A NINGUNA PARTE" (Journey to Nowhere) — "WERTHER" — The Directors — The Stars Separata del n° 506/507 de "CITIEINFORME" Edición especial para el ICAA (Instituto de la Cinematografia y de las Artes Audiovisuales) Diseño: FUBLIMARKET Imprime FARESO, SA CINEINFORME es una publicación de EPC - Editora Profesional de One Pza de los Mostenses, 11 - 28015 MADRID Dep. Legal 14508-1962 THIRD FESTIVAL OF FILMS FROM SPAIN IN NEW YORK (March 27-Aprii 2) The Guild .>0" St. Theater (nWkeftfller Ha/.a. Neu York) MINISTRY OF CULTURE |