Voyage to Nowhere
Voyage to Nowhere is a 1986 Spanish drama film written and directed by Fernando Fernán Gómez. It is based on his own novel with the same title; the film won the First Goya Award given as Best Film, Best Director and Best Screenplay. The film tells the story of a group of comedians, it is a story about their desires and frustrations. Throughout the journey, their work is interspersed with love, family financial problems, the hunger to triumph a dream; the central character, Carlos Galván, is the son of the first actor and director of the company, don Arturo, he's the father of Carlito, a kid who does not want to be a comic. Carlos Galván takes refuge in a fantasy world. José Sacristán as Carlos Galván Laura del Sol as Juanita Plaza Juan Diego as Sergio Maldonado María Luisa Ponte as Julia Iniesta Gabino Diego as Carlos Piñeiro Nuria Gallardo as Rosita del Valle Fernando Fernán Gómez as Don Arturo Queta Claver as Doña Leonor Emma Cohen as Sor Martirio Agustín González as Zacarías Carpintero Carlos Lemos as Daniel Otero Miguel Rellán as Dr. Arencibia Simón Andreu as Solís José María Caffarel Carmelo Gómez Tina Sáinz Nacho Martínez El viaje a ninguna parte on IMDb
Celso Bugallo Aguiar is a Spanish actor. He appeared in more than forty films since 1999. Celso Bugallo on IMDb
Everyone Off to Jail
Todos a la cárcel is a 1993 Spanish comedy film directed by Luis García Berlanga. The script was written by Berlanga with his son Jorge Berlanga; the plot takes place in a prison in Valencia during the day of the inmate called Everyone to Jail, an event to reunite victims of the Francoist repression. A businessman tries to recover the 80 million pesetas that the administration owes him, the banker Cesar Muyagorri tries to obtain the freedom of his friend from Milan Tornicelli; the celebration gets complicated because some of those who were invited did not come and the death of father Rebolli and the welch shed of the participants and there is a prison riot. The banker manages to escape with the help of NATO security forces, but the businessman gives up his intention to claim what he is owed by the minister. José Sazatornil as Artemio José Sacristán as Quintanilla Agustín González as Director Manuel Alexandre as Modesto Rafael Alonso as Falangista Inocencio Arias as Casares José Luis Borau as Capellan Gaspar Cano as Realizador TV Luis Ciges as Ludo Joaquín Climent as Ministro Marta Fernández Muro as Matilde Juan Luis Galiardo as Muñagorri Antonio Gamero as Cerrillo Chus Lampreave as Chus Eusebio Lázaro as Alcaraz It won at the 1993 Goya Awards,'Best Director','Best Film' and'Best Sound'.
Todos a la cárcel on IMDb
All About My Mother
All About My Mother is a 1999 Spanish drama film written and directed by Pedro Almodóvar, starring Cecilia Roth, Marisa Paredes, Antonia San Juan, Penélope Cruz and Candela Peña. The plot originates in Almodóvar's earlier film The Flower of My Secret which shows student doctors being trained in how to persuade grieving relatives to allow organs to be used for transplant, focusing on the mother of a teenager killed in a road accident. All About My Mother deals with complex issues such as AIDS, transsexualism and existentialism; the film was a commercial and critical success internationally, winning the Academy Award for Best Foreign Language Film in addition to the Golden Globe for Best Foreign Language Film and the BAFTA Awards for Best Film Not in the English Language and Best Direction. The film won 6 Goya Awards including Best Film, Best Director, Best Actress; the film centers on Manuela, an Argentine nurse who oversees donor organ transplants in Ramón y Cajal Hospital in Madrid and single mother to Esteban, a teenager who wants to be a writer.
On his seventeenth birthday, Esteban is hit by a car and killed while chasing after actress Huma Rojo for her autograph following a performance of A Streetcar Named Desire, in which she portrays Blanche DuBois. Manuela has to agree with her colleagues at work that her son's heart be transplanted to a man in A Coruña. After travelling after her son's heart, Manuela quits her job and journeys to Barcelona, where she hopes to find her son's father, Lola, a transvestite she kept secret from her son, just as she never told Lola they had a son. In Barcelona, Manuela reunites with a warm and witty transvestite prostitute, she meets and becomes involved with several characters: Rosa, a young nun who works in a shelter for battered prostitutes, but is pregnant by Lola and is HIV positive. Her life becomes entwined with theirs as she cares for Rosa during her pregnancy and works for Huma as her personal assistant and acts in the play as an understudy for Nina during one of her drug abuse crises. On her way to the hospital, Rosa asks the taxi to stop at a park where she spots her father's dog and her own father, who suffers from Alzheimer's.
Rosa dies giving birth to her son, Lola and Manuela reunite at Rosa's funeral. Lola, dying from AIDS, talks about how she always wanted a son, Manuela tells her about her own Esteban and how he died in an accident. Manuela adopts Esteban, Rosa's child, stays with him at Rosa's parents' house; the father does not understand who Manuela is, Rosa's mother says it's the new cook, living there with her son. Rosa's father asks Manuela her age and height. Manuela gives her a picture of their own Esteban. Rosa's mother spots them from the street and confronts Manuela about letting strangers see the baby. Manuela tells her. Manuela flees back to Madrid with Esteban, she writes a letter to Huma and Agrado saying that she is leaving and once again is sorry for not saying goodbye, like she did years before. Two years Manuela returns with Esteban to an AIDS convention, telling Huma and Agrado, who now run a stage show together, that Esteban had been a miracle by not inheriting the virus, she says she is returning to stay with Esteban's grandparents.
When Manuela asks Huma about Nina, Huma leaves. Agrado tells Manuela that Nina went back to her town, got married, had a fat, ugly baby boy. Huma rejoins the conversation before exiting the dressing room to go perform. Cecilia Roth as Manuela Marisa Paredes as Huma Rojo Antonia San Juan as Agrado Penélope Cruz as Rosa Candela Peña as Nina Cruz Rosa Maria Sardà as Rosa's mother Fernando Fernán Gómez as Rosa's father Eloy Azorin as Esteban Toni Cantó as Lola Almodóvar dedicates his film "To all actresses who have played actresses. To all women who act. To men who act and become women. To all the people who want to be mothers. To my mother". Almodóvar recreates the accident scene from John Cassavetes' Opening Night as the epicenter of the dramatic conflict; the film was shot on location in Barcelona. The soundtrack includes "Gorrión" and "Coral para mi pequeño y lejano pueblo", written by Dino Saluzzi and performed by Saluzzi, Marc Johnson, José Saluzzi, "Tajabone", written and performed by Ismaël Lô.
The film went into general theatrical release on 16 April. It was shown at the Cannes Film Festival, the Karlovy Vary Film Festival, the Auckland Film Festival, the Austin Film Festival, the Thessaloniki International Film Festival, the New York Film Festival before going into limited release in the United States, it grossed €9,962,047 in Spain, $8,272,296 in the US and $59,600,000 in foreign markets for a worldwide box office total of $67,872,296. Janet Maslin of The New York Times called it Almodóvar's "best film by far", noting he "presents this womanly melodrama with an empathy to recall George Cukor's and an eye-dampening intensity to out-Sirk Douglas Sirk", she added, "It's the crossover moment in the career of a born four-hankie storyteller of ever-increasing stature. Look out, here he comes". Roger Ebert of the Chicago Sun-Times observed, "
Galicia is an autonomous community of Spain and historic nationality under Spanish law. Located in the north-west of the Iberian Peninsula, it comprises the provinces of A Coruña, Lugo and Pontevedra, being bordered by Portugal to the south, the Spanish autonomous communities of Castile and León and Asturias to the east, the Atlantic Ocean to the west, the Cantabrian Sea to the north, it had a population of 2,718,525 in 2016 and has a total area of 29,574 km2. Galicia has over 1,660 km of coastline, including its offshore islands and islets, among them Cíes Islands, Ons, Sálvora, and—the largest and most populated—A Illa de Arousa; the area now called Galicia was first inhabited by humans during the Middle Paleolithic period, it takes its name from the Gallaeci, the Celtic people living north of the Douro River during the last millennium BC, in a region coincidental with that of the Iron Age local Castro culture. Galicia was incorporated into the Roman Empire at the end of the Cantabrian Wars in 19 BC, was made a Roman province in the 3rd century AD.
In 410, the Germanic Suebi established a kingdom with its capital in Braga. In 711, the Islamic Umayyad Caliphate invaded the Iberian Peninsula conquering the Visigoth kingdom of Hispania by 718, but soon Galicia was incorporated into the Christian kingdom of Asturias by 740. During the Middle Ages, the kingdom of Galicia was ruled by its own kings, but most of the time it was leagued to the kingdom of Leon and to that of Castile, while maintaining its own legal and customary practices and culture. From the 13th century on, the kings of Castile, as kings of Galicia, appointed an Adiantado-mór, whose attributions passed to the Governor and Captain General of the Kingdom of Galiza from the last years of the 15th century; the Governor presided the Real Audiencia do Reino de Galicia, a royal tribunal and government body. From the 16th century, the representation and voice of the kingdom was held by an assembly of deputies and representatives of the cities of the kingdom, the Cortes or Junta of the Kingdom of Galicia.
This institution was forcibly discontinued in 1833 when the kingdom was divided into four administrative provinces with no legal mutual links. During the 19th and 20th centuries, demand grew for self-government and for the recognition of the culture of Galicia; this resulted in the Statute of Autonomy of 1936, soon frustrated by Franco's coup d'etat and subsequent long dictatorship. After democracy was restored the legislature passed the Statute of Autonomy of 1981, approved in referendum and in force, providing Galicia with self-government; the interior of Galicia is characterized by a hilly landscape. The coastal areas are an alternate series of rías and cliffs; the climate of Galicia is temperate and rainy, with markedly drier summers. Its topographic and climatic conditions have made animal husbandry and farming the primary source of Galicia's wealth for most of its history, allowing for a relative high density of population. With the exception of shipbuilding and food processing, Galicia was based on a farming and fishing economy until after the mid-20th century, when it began to industrialize.
In 2012, the gross domestic product at purchasing power parity was €56,000 million, with a nominal GDP per capita of €20,700. The population is concentrated in two main areas: from Ferrol to A Coruña in the northern coast, in the Rías Baixas region in the southwest, including the cities of Vigo and the interior city of Santiago de Compostela. There are smaller populations around the interior cities of Ourense; the political capital is Santiago de Compostela, in the province of A Coruña. Vigo, in the province of Pontevedra, is the most populous municipality, with 292,817, while A Coruña is the most populous city, with 215,227. Two languages are official and used today in Galicia: Galician and Spanish. Galician is a Romance language related to Portuguese, with which it shares Galician-Portuguese medieval literature, Spanish, sometimes referred to as Castilian, used throughout the country. Spanish is spoken fluently by all in Galicia, in 2013 it was reported that 51% of the Galician population used more Galician on a day-to-day, 48% used more Spanish.
The name Galicia derives from the Latin toponym Callaecia Gallaecia, related to the name of an ancient Celtic tribe that resided north of the Douro river, the Gallaeci or Callaeci in Latin, or Καλλαϊκoί in Greek. These Callaeci were the first tribe in the area to help the Lusitanians against the invading Romans; the Romans applied their name to all the other tribes in the northwest who spoke the same language and lived the same life. The etymology of the name has been studied since the 7th century by authors such as Isidore of Seville, who wrote that "Galicians are called so, because of their fair skin, as the Gauls", relating the name to the Greek word for milk. In the 21st century, some scholars have derived the name of the ancient Callaeci either from Proto-Indo-European *kal-n-eH2'hill', through a local relational suffix -aik-, so meaning'the hill'. In any case, being per se a derivation of the ethnic name Kallaikói, means'the land of the Galicians'; the most recent proposal comes from linguist Francesco Benozzo afte
Lovers (1991 film)
Lovers is a 1991 Spanish film noir written and directed by Vicente Aranda, starring Victoria Abril, Jorge Sanz and Maribel Verdú. The film brought Aranda to widespread attention in the English-speaking world, it is considered one of the best Spanish films of the 1990s. In Madrid, in the mid-1950s, Paco, a handsome young man from the provinces serving the last days of his military service, is in search of both a steady job and lodging, he is engaged to be married to his major's maid. Trini is not only sweet and pretty, but has saved a sizable amount of money through years of hard work and frugal living, which will enable her and Paco to start their lives together comfortably. With a factory job lined up, Paco moves out of his barracks and looks for somewhere to live until the wedding. Trini unwittingly refers him to Luisa, a beautiful widow who periodically takes in boarders and rents him a spare bedroom. Besides supplementing her income with boarders, Luisa engages in swindles with underworld contracts, is not above cheating her partners by skimming money off her illicit earnings.
Smitten by Paco, the attractive Luisa seduces her new tenant. Paco, frustrated by his unfruitful job hunt and by Trini's refusal to sleep with him until they are married, offers little resistance when Luisa seduces him, initiating an affair, he is dazzled with the sexual delight. So intense is Paco's attraction for Luisa, that he abandons Trini for long periods showing up at the major's house to spend Christmas Eve with her. Trini feels a distance between herself and Paco, while the couple is strolling in the street, she is surprised to see the “old widow” and guesses that she and Paco are having a relationship. Trini seeks the advice of the major's wife, who tells her that she should use her own sexual powers to win Paco back. Waiting for Luisa to leave the apartment, Trini goes to Paco's room and gives herself to him, making sure that Luisa sees her leaving. At first, her tactic works and Paco reaffirms his love for her and they leave to visit Trini's mother in her village. However, Trini is no match for her rival as Paco can not get Luisa out of his mind.
When they come back to Madrid, Paco is willing to continue his twin relationship, but Luisa, who knows of Trini's existence, is wildly jealous of her rival. Things become more complicated for Paco by Luisa's shady business dealings with Minuta and Gordo, members of a gang of swindlers whom she owes money, they have threatened her life, Paco, attempting to aid his lover, suggests that he get the money by swindling Trini of her savings. Luisa would prefer that they kill Trini, but proposes that Paco should marry Trini steal her savings and run away with Luisa. Paco uneasily agrees; the plan is for Paco to propose marriage to Trini and bring her to the provincial city of Aranda del Duero where they have planned to purchase a bar. Under that pretense and Trini leave Madrid. Luisa unsure of Paco's resolve. While Trini is asleep, Paco steals the money from her handbag, he pulls out of their plan to flee together. Luisa upset, tells him he's botched the plan, when he tells her to wait and, "Things will be okay," she excitedly utters, "Kill her!", walks away, tossing the money at her feet – it is Paco she wants.
Paco retrieves the money, driven by guilt, he returns to Trini to explain the situation. After the disappearance of the money, Trini realized the fraud and understands that her love for Paco is doomed; when Paco comes back to the hotel room and confesses the plan, Trini locks herself in the bathroom and attempts to commit suicide using Paco's razor. She is thwarted by Paco snatching the razor from her; as the two sit in the rain on a bench in front of the cathedral of the town, Trini refuses to forgive Paco, tells him she prefers death to abandonment. Thwarted in her attempt to cut her own wrist with Paco's razor, she begs him to kill her since, what he wants, he does so rushes to the train station to prevent Luisa from leaving. Placing his bloody hands on her compartment window, signaling to Luisa that the mission has been accomplished, she gets off the moving train; the couple embraces passionately on the platform. A title informs viewers. Amantes had its origin in La Huella del Crimen, a Spanish TV series depicting infamous crimes which happened in Spain, for which Vicente Aranda had directed the chapter El Crimen del Capitán Sánchez in 1984.
The success of this production, made for TVE, compelled Producer Pedro Costa to develop a second part. In the new installment of the series, there was to be an episode called Los Amantes de Tetuán, the story of a real life crime committed by a couple living in the district of Tetuán de las victorias, a working class sector of Madrid; the actual crime took place in the 1949 in La Canal, a small village near Burgos and so it was dubbed as El crimen de La Canal. The crime concerned a widow, Francisca Sánchez Morales, engaged in blackmailing who persuaded a young man, José García San Juan, to kill his young wife, Dominga del Pino Rodríguez. Three days the couple was caught and never saw each other again, they were condemned to capital punishment. They got their sentences commuted and they served between ten and twelve years; the widow died of a heart attack just after leaving jail, the young man started a new and prosp
The Others (2001 film)
The Others is a 2001 horror film. It was written and scored by Alejandro Amenábar, it stars Fionnula Flanagan. The film won eight Goya Awards, including awards for Best Director; this was the first English-language film to receive the Best Film Award at the Goyas, without a single word of Spanish spoken in it. The Others was nominated for six Saturn Awards including Best Director and Best Writing for Amenábar and Best Performance by a Younger Actor for Alakina Mann, won three: Best Horror Film, Best Actress for Kidman and Best Supporting Actress for Fionnula Flanagan. Kidman was nominated for a Golden Globe Award for Best Actress in Drama and a BAFTA Award for Best Actress in a Leading Role, with Amenábar being nominated for a BAFTA Award for Best Original Screenplay, a rare occurrence for a horror film. Set in 1945, Grace Stewart occupies a remote country house in the Channel Islands and one day awakens from a harsh nightmare in the immediate aftermath of World War II, she lives with her two young children and Nicholas, who have an uncommon disease characterised by photosensitivity.
Grace hires three new servants—the aging Mrs. Bertha Mills, elderly gardener Edmund Tuttle, a mute girl named Lydia. Mills explains that she had worked in the house many years ago. Anne tells Mills that "mummy went mad" after the previous servants left. Nicholas disagrees and argues that "nothing happened". Grace requests Mills not to trust everything; when odd events occur at the house, Grace begins to fear. Anne claims to have seen a group of people in the house several times: a man, woman, an old woman and a child called Victor, who have claimed that "the house is theirs". After Grace hears footsteps and unknown voices, she orders the house to be searched. Grace finds a 19th-century so-called "book of the dead", a photo album of mourning portrait photos of deceased family members, with some missing pages. Grace asks Mills about. Mills says. At night, Grace witnesses a piano playing itself and becomes convinced that the house may be haunted. Convinced that something unholy is in the house, Grace runs outside in search of the local priest to bless the house.
Before leaving, Grace instructs Tuttle to check a small nearby cemetery to see if there was a family buried there who had a little boy named Victor. Tuttle covers the gravestones with fallen autumn leaves, under the orders of Mills, who comments that Grace thinks the house is haunted. Outside, Grace discovers her husband Charles. Charles greets his children after a long absence, but is distant during the short time he spends at the house. Grace has a vision of an elderly woman and attacks her. Grace soon learns that she has attacked Anne, who retreats to her father. Charles asks Grace what happened "that day". Grace claims that she does not know but recalls that the servants left without giving notice and without her husband there, she could not leave the house and she did not know what came over her. Following Grace's attack, Anne tells Nicholas that Grace went mad in the same way that she did "that day". Nicholas denies recollection of that day. Charles says he must leave for the front though Grace claims that the war is over.
Charles weeps when Grace thinks that he wanted to leave her, the two embrace lie motionless together in bed. The next morning he is gone again; the children wake up screaming. Grace blocks out the light. Grace banishes them. After leaving, an annoyed Mills asks Tuttle to uncover the gravestones; that night, as Grace searches for the curtains, the children sneak outside and Anne discovers a graveyard and realises that these are the servants' graves from years past. Grace finds a torn out photograph from the photo album of portraits of the dead, is horrified to see it is of her three servants; the servants try to speak to the children, who retreat. Grace tells the children to hide upstairs in the bedroom. From outside, Mills reveals that the three servants died of tuberculosis more than 50 years ago and that the living and the dead should learn to live together. Hearing the children scream as they face the elderly woman, Mills tells Grace to go upstairs and talk to the intruders. Grace discovers that the old woman, described by Anne as an intruder, is in fact acting as a medium in a séance with Victor's parents.
The medium asks what happened to Nicholas. The children's answers read out by a man, it is revealed that Grace smothered the children to death with a pillow on the day she "went mad". The children scream. Grace, in denial, rips the medium's papers. Victor's family sees the papers being ripped. Grace, now realising herself as being the spirit which the séance tried to contact, regains her memories of the end of the war years: stricken with grief without her husband, isolated alone with the children, Grace lost her mind and in psychosis killed her children. Realising what she had done, she shot herself; when she "awoke" and heard her children's laughter, she assumed God had granted her family a second chance at life. Grace questions whether they are now alive and Mills says that Lydia wondered this before becoming mute, it was only Charles' spirit that came to visit them before d