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Despite Everything (Spanish: A pesar de todo) is a 2019 Spanish comedy film directed by Gabriela Tagliavini and starring Blanca Suárez, Macarena García, Amaia Salamanca, and Belén Cuesta. [1] The film premiered at the Málaga Film Festival on 16 March 2019, [ 2 ] [ 3 ] and released on Netflix on 3 May 2019, becoming the most-watched Spanish ...
The film's title is a play on words in Spanish, with “toc” being both the onomatopoeia for “knock” and the abbreviation for OCD in Spanish (trastorno obsesivo compulsivo). [3] It is the film adaptation of a French play by Laurent Baffie. [4] The film was shown during the summer of 2018 as part of the Cine de Verano in Seville, Spain. [5]
Tango (Spanish: Tango, no me dejes nunca, translation: Tango, never leave me) is a 1998 Argentine-Spanish musical drama film written and directed by Carlos Saura and starring Miguel Ángel Solá and Mía Maestro. It was photographed by cinematographer Vittorio Storaro.
Mirage (2018). In this trippy sci-fi thriller from Spain, a happily married mother named Vera learns there's a possibility of saving the life of a boy who lived in her home 25 years earlier.
A list of the most notable films produced in the Cinema of Spain, ordered by decade and year of release on separate pages. For an alphabetical list of articles on Spanish films, see Category:Spanish films .
Dark Habits (Spanish: Entre Tinieblas) is a 1983 Spanish black comedy film written and directed by Pedro Almodóvar and starring Julieta Serrano, Marisa Paredes and Chus Lampreave. The plot follows a cabaret singer who finds refuge in a convent of eccentric nuns, while the film is an exploration of the anachronistic situation of ...
Jonathan Holland of Variety deemed Summer's Clouds to be an "satisfyingly rounded and thought-provoking piece, gratifying both heart and head". [4]Nuria Vidal of Fotogramas rated the film 3 out of 5 stars, highlighting the discovery of Millán and Montalà as the best thing about the film.
Janire Zurbano of Cinemanía gave the film 3 out of 5 stars, considering that while lacking the rhythm and plot-turns of other Martín Cuenca's films such as Cannibal and The Motive, the almost theatrical mise-en-scène and the visual power of the landscapes put tension and pressure on the viewers; cornering them to identify with the protagonists.
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