Waiting for the green light on his next project, young filmmaker León (Francesco Carril) is in a state of limbo. So what’s he to do? Wander Madrid, get drunk, go on dates, meet up with friends, fall in love, and of course talk about movies. Shot on black-and-white 16mm film stock, writer/director Trueba’s film is a joyous love letter to cinema and the filmmaking process, in particular the French New Wave, whose vintage aesthetic the film consciously evokes. While a film about the craft of making work, it’s also a meditation on contemporary Spanish society, a boy-meets-girl tale, and a seductive homage to Madrid, with the city as much a protagonist of the movie as Carril’s León. Winner of the Best Actor Award at the Buenos Aires Independent Film Festival.

El Pisito is a 1959 Spanish comedy film directed by Marco Ferreri. The Spanish Ministry of Culture forced the producers to sign the film as co-directed by Spaniard Isidoro M. Ferry. It was co-written by famous Spanish screenwriter Rafael Azcona, who collaborated with Ferreri throughout his career.
The film was a huge flop when it was released in Spain, but nowadays is a cult classic. The film had troubles with Spanish censorship.
In the film, Marco Ferreri and Carlos Saura appear in cameos. (wikipedia)

本片是费拉里对现代社会文明和小家庭中男子的作用的最新探讨的成果。工程师热拉尔德被妻子抛弃了，并把小儿子皮耶罗特留给了他。当工厂宣布休假时，他把保姆当作情人；在短短的时间内，他重新经受了令人伤脑筋的以两性斗争为特点的两人关系发展的全过程。热拉尔德完全被以性交为表现的男性意识所支配。当他同情人的关系发生危机时，他的情人却和他的前妻成了好朋友。他出于抗议和绝望用一把厨房用的电锯把自己的生殖器割掉了。这个可以作为模式的事件的大部分 (就象在戏剧舞台上一样)发生在一套高层小公寓里。费拉里批判了他的主人公的大男子主义，同时也表现了由于生活(工作，住宅，千篇一律的生活秩序，孤独寂寞)造成的绝望和灰心丧气。如果说影片留下了一种相互矛盾的印象，那是由于影片以独特的方式提出了问题：这个男人是他的行为的牺牲品，也是妇女全面反抗的牺牲品；费拉里在这部影片中同样使用了多种手法，而且通过一些“煽动性"的细节和效果来吸引更多的观众。

1938年，佛朗哥将军独裁统治下的西班牙，和希特勒统治下的纳粹德国关系密切。西班牙的电影工作者受到德国资助，来到柏林拍摄电影。战争中的德国到处是暴力和硝烟，这些不想和政治纠缠在一起的人们到了这里才发现那不过是他们单纯的想法而已。德国人对电影的制作过程横加干涉，宣传部长戈培尔看上了影片的女主演马格莱娜，对她百般骚扰，她请求丰迪维洛拿出办法，丰迪维洛深爱着她，但是他也无计可施。他们不知道，整个队伍得以成行就是因为部长喜欢上马格莱娜。如果她拒绝部长的要求，就等于将她的集体推向深渊。整个社会环境也越来越恶劣，种族主义情绪高涨……他们应该如何摆脱这重重危机？这些追求自由与纯粹的艺术的电影人，为捍卫尊严他们齐心协力，与德国法西斯展开英勇的斗争。

Remake of the tale of an acclaimed matador who finds himself involved with a beautiful woman, jeopardizing both his marriage and career.

A highly stylized surreal farce about the events leading up to Custer's Last Stand anachronistically reenacted in an urban renewal area in modern Paris.

In a small spanish town, a group of old ladies decide to celebrate Christmas Eve with a "Sit a poor man at your table" dinner: each wealthy household of the town will have a homeless person dining with them that night. The celebrations also include a parade, and in it we find Plácido, the humble owner of a three-wheeler, whose family is forced to live in a public lavatory because of the lack of money to pay the rent, and who has to pay the second bill of his vehicle before midnight or else he will lose it.

Malvís (Alfredo Landa) is sick of working like crazy for nothing. He'd rather become a bandit, that's much better, he's gonna be the fearful Fendetestas! He'll spread panic in the woods of his region. But there's a little problem: there aren't much people living in his region, everyone knows everyone and everyone is so poor, so is gonna be difficult that someone takes Malvís/Fendetestas too seriously.
This is a magic history, so funny, and full of situations that will make you laugh. It's also full of characters that belong to the Spanish idiosyncrasy: the strict priest, the Guardia Civil, the old devout women, the village idiot... there's even a lost soul wandering around the woods.
The great Alfredo Landa heads a cast that gathered together the best two generations of Spanish scene: from Fernando Rey to Encarna Paso, from Manuel Alexandre to María Isbert... A cast like that would be just unthinkable nowadays. "El Bosque Animado" was the first movie of José Luis Cuerda's trilogy of rural comedies (after this one he made the surreal "Amanece Que No Es Poco", and "Así En El Cielo Como En La Tierra". Those are movies so personal that stress the Spanish culture. The young directors should take note of films like "El Bosque Animado", instead of trying to be the new "enfant terrible" and imitating US worst cinema.

年轻贵族蓝郎爱上富商女儿玛丽芭。蓝郎的仆人Sempronio 建议找女巫Celestina来促进此事。但另外一个仆人Parmeno 对女巫深感怀疑，因为他清楚知道她的把戏。其后女巫让玛丽芭深信蓝郎对他的爱 ，并安排一个秘密会面, 蓝郎给了女巫子一条昂贵的金链子。两位仆人都不满意女巫提供给他们的妓女，他们提出更多的要求，因此引发了一连串的戏剧化事情。

1962 film by Alberto Lattuada

故事发生在1958年的西班牙，米格尔（劳尔·阿雷瓦洛 Raúl Arévalo 饰）出生在一个并不富裕的家庭之中，日子过得一直都很拮据。安东尼奥（胡安·迭戈·博托 Juan Diego Botto 饰）和米格尔恰恰相反，他是衔着金汤匙出生的大少爷，个性奔放而富有魅力。两人在命运的趋势之下相识了，共同来到了伊维萨岛，在这里等待着他们的，是远离了道德世俗的野性生活。
安东尼奥很快就适应了这里的规则，开始辗转在不同的女伴之间，而性格相对保守的米格尔则爱上了名为奥黛特（斯特芬·凯亚尔 Stéphane Caillard 饰）的女孩，和米格尔一样，奥黛特羞涩，内敛，内心里对美好的生活有着不切实际的幻想。

In metahistorical New York city electrotechnician Lafayette deals with a megalomaniac director of a wax museum of ancient Rome, an italian lonely anarchist, a group of feminist actresses - including Angelica who falls in love with him - and a small adopted chimpanzee.

安东尼奥（何塞·瓦奎斯饰演）掌管着一个家族企业，一场车祸之后不幸地身体瘫痪，并失掉了大部分记忆。安东尼奥的家人通过各种方式，试图帮助他恢复对于保险箱密码、公司管理、家人以及自己的记忆和认知。安东尼奥在碎片般的童年记忆中再次修复了对于自己过往生活的经验，但他已然无力面对追名逐利的亲人和令人窒息的现实生活。

This film is not just one of the great results of Saura and Geraldine Chaplin creative and marital union, but one of the rare movies where the environment, the house here, takes the main role.
The huge, abstract, pre-minimalist concrete house (by Spanish architect Carvajal) transforms itself during the whole film running, setting the path to the main characters paranoia. The images that Saura produces are enigmatic, surrealist, funny, and in a strange way therapeutic, and they are deeply rooted in Spanish cubism and surrealism. It is probably one of the most contemporary and interesting film by the director, not recognized, yes, but a great unexpected value anyway.

When the single middle-aged Luis travels from Barcelona to bury the remains of his mother in the vault of his family in Segovia, he is lodged by his aunt Pilar in her old house where he spent his summer of 1936 with her. He meets his cousin Angelica, who was his first love, living on the first floor with her husband and daughter, and he recalls his childhood in times of the Spanish Civil War entwined with the present.

故事发生在1940年的葡萄牙，16岁的马诺洛（豪尔赫·桑斯 Jorge Sanz 饰）和8岁的赫苏斯被送进了一家肺病疗养院中。在这里，马诺洛是年龄最大的孩子，因此自然而然的成为了疗养院里的孩子王。马诺洛结识了疗养院的院长伊莲娜（薇诺妮卡·福克 Verónica Forqué 饰）以及个性古怪的女教师唐娜（达兹·莱姆波瑞娃 Chus Lampreave 饰）。
在原本负责照顾马诺洛的护士维森塔（Violeta Cela 饰）被辞退之后，新护士玛利亚（玛丽贝尔· 瓦度 Maribel Verdú 饰）接替了这份工作，温柔善良的玛利亚很快就吸引了马诺洛的注意，让情窦初开的他深深的陷入了爱情中无法自拔。

文学教师乌尔赛（Jordi Mollà 饰）来到一座海边的小城工作，甫一落脚，他就被附近饭店内的店主女儿玛蒂娜（Leonor Watling 饰）深深吸引，其时玛蒂娜的父母寄希望于女儿同房产商谢拉（Eduard Fernández 饰）结合，乌尔赛绕过玛蒂娜父母与她频繁约会，在山上、在海边有马头石的岩洞，乌尔赛似乎有无数神秘的故事可讲，玛蒂娜坠入爱河，假装怀孕终于获得父母首肯与乌尔赛结合。两人婚后生下儿子，商人谢拉仍对玛蒂娜念念不忘，不久乌尔赛出海失事，家人搜寻不到他的遗体，只好先为他举办了葬礼，玛蒂娜改嫁谢拉。几年后，一通突然打来的电话将玛蒂娜来回那些海边的浪漫记忆，原来乌尔赛并未身亡，他再次回到小城，在玛蒂娜安排的地方秘密住下，两人回到了热恋时的状态，但这段关系的结局不甚明朗。
本片获2002年西班牙圣后迪奖最佳西班牙男演员奖。

1967 film by Carlos Saura

An undertaker gets married to an old executioner's daughter and, although he doesn't like it, must continue the profession of his father-in-law after his retirement.