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In Victor Erice's luminous "El Sur," the deeply personal becomes profoundly political. This exquisite memory film operates on multiple interlinked planes -- a daughter's coming-of-age, a family fractured by ideology, and a nation emerging from the shadow of authoritarianism. The film's narrative elegance lies in how Estrella's gradual understanding of her father Agustin mirrors Spain's own painful self-examination after Franco. Just as Estrella discovers her father's complex past -- his estrangement from his own father over political differences, his abandoned love in the South -- Spain itself was confronting its buried histories and unresolved divisions in the early 1980s. The Republicans versus Fascists split that drove Agustin from his southern home becomes both literal family drama and national allegory. Erice's visual language is nothing short of transcendent. Jose Luis Alcaine's cinematography transforms ordinary spaces into chambers of memory, where light and shadow perform an intricate dance of revelation and concealment. The film's composition -- often framing characters through doorways, windows, or mirrors -- visually reinforces the theme of divided identities and partial understanding. What makes "El Sur" particularly resonant is that it reflects both personal and collective guilt. Estrella's concluding question about whether she could have done more for her father echoes Spain's own post-Franco reckoning with complicity and silence. If the novella by Adelaida Garcia Morales was indeed a personal reconciliation with her past, Erice expands it into a meditation on national conscience. The famous "incompleteness" of the film -- those southern sequences never filmed due to budget constraints -- becomes its most perfect metaphor. The South remains an abstraction, an idealized elsewhere that exists primarily in imagination and memory. This mirrors both Estrella's incomplete understanding of her father and Spain's unfinished process of reconciliation with its past. "El Sur" suggests that coming-of-age is never merely personal; it happens in historical context (similar themes emerge in "Pan's Labyrinth," "Au Revoir Les Enfants," and "Persepolis"). As Estrella moves from childhood to adolescence, discovering the complexities of adult relationships, Spain itself was navigating its own awkward transition from dictatorship to democracy. Both journeys involve confronting uncomfortable truths, abandoned possibilities, and the realization that some wounds may never fully heal. In its delicate balance of the intimate and the historical, "El Sur" becomes more than a film -- it's a memory palace where personal and national reckonings converge in moments of haunting beauty.
A mysterious woman, known as Madame M, kidnaps forty pre-teen girls and transports them to a remote island to train them as the most deadly assassins. CIA operative Jack Chen follows the case for 6 years with no leads, but when a series of assassinations begin to occur, Jack suspects that Madame M is back in business.
After her boyfriend commits suicide, a young woman attempts to use the unpublished manuscript of a novel and a sum of money he left behind to reinvent her life.
During the 1980s, uptight Ted Boynton is a salesman working in the Barcelona office of a Chicago-based company. He receives an unexpected visit from his cousin Fred, a naval officer who has come to Spain on a public relations mission for a U.S. fleet. Not exactly friends in the past, Ted and Fred strike up relationships with women in the Spanish city and experience conflicts - Ted with his employer, and Fred with the Barcelona community.
A youth group is preparing for what will be the summer of their life, including secrets, lies, sex, confusion, evenings and holidays.
Epic film of the legendary Spanish hero, Rodrigo Diaz ("El Cid" to his followers), who, without compromising his strict sense of honour, still succeeds in taking the initiative and driving the Moors from Spain.
After many years of confrontation, the treasures of Spain and France are empty. In 1721, the regent of France draws up an ambitious plan to inaugurate an era of peace and prosperity that will heal the economies of both nations: his intention is to build a solid network of marriage alliances that will involve four children of very different ages who know nothing of betrayals and power games…
Greek painter Domenikos Theotokopoulos (Mel Ferrer) woos a beauty (Rosanna Schiaffino) and faces the Inquisition in 16th-century Spain.
Christian, a young man from the city, travels to a town in Zaragoza, Spain of his recently-deceased father to throw his ashes and give a final farewell. He arrives to find the town abandoned years ago by everyone, leaving their houses to slowly crumble into memory, in search of better opportunities. Yet, one resident remains. An eccentric and wild man who has chosen to live alone in nature, to protect the remains of the village from the pillagers that often drive by in search of valuable artefacts. Their encounter will force Christian to confront his father's identity and perhaps finally understand why his father was the way he was.
The only son of wealthy widow Violet Venable dies while on vacation with his cousin Catherine. What the girl saw was so horrible that she went insane; now Mrs. Venable wants Catherine lobotomized to cover up the truth.