Maria Luisa Ponte Movies

This uplifting film, set in a 19th-century Spanish convent, quietly comments upon the limitations of leading the spiritual and isolated life of a nun. The peaceful routine of the nuns is interrupted by the sudden arrival of an abandoned baby girl. The girl, whom they named Teresa after the Mother Superior, is formally adopted by the town doctor, but is actually raised by the loving hands of the nuns. The film follows their experiences as they learn a more earthly form of love. ~ Sandra Brennan, Rovi

In this comedy, a manufacturer of turrón, a candy which resembles the honey-almond confection halvah, wants to promote it outside the regions of southern Spain where it is a traditional Christmas treat. It is particularly associated with a festival during which the wars between the Christians and the Moors are ritually reenacted. The manufacturer and his sons travel to a Madrid food festival to sell, sell, sell. The father also persuades his reluctant daughter, a woman with political ambitions, to use her connections to help promote their candy. With some difficulty, they garner a mention in a women's weekly magazine and on a television program. In a macabre comedy scene, having returned home, the manufacturer dies and is put in a coffin that is too small and is paraded down the street during the aforementioned festival in Alicante. ~ Clarke Fountain, Rovi

This drama concerns a seven-year-old boy, Pepe Luis (Lucas Martin, as the younger Pepe and Paco Rabal Cerezales as Pepe at ten) who lives through the rise of Franco and the ensuing years under the fascist dictator. Presented from the perspective of the young Pepe, the Civil War and Franco are irrelevant to his own concerns: daydreaming about a pretty girl he likes, fighting with other boys, helping the priest at a funeral service, and similar activities. Pepe lives with his uncle and grandparents, and whether he is aware of it or not, the war impinges on their lives in several ways. The title of the film derives from little Pepe's contention that God is not responsible for the war, just some "bastard brother" of the Creator. ~ Eleanor Mannikka, Rovi

In a story with a good premise, a man who has been hiding in a cave for 40 years decides he is finally ready to come out and re-integrate himself into village life. He went into hiding to escape the harsh rule of the fascist dictator Francisco Franco. After Franco dies in 1975, the cave-dweller feels it's safe to emerge, though he is not at all prepared for modern Spain. Meanwhile, friends inform his wife that she may no longer be eligible for a pension because her husband is alive while others wonder if he really is her husband. These considerations are almost enough to drive the man back into the cave again. ~ Eleanor Mannikka, Rovi

Based on a 1943 book of the same title by Camilo José Cela, Colmena features the comings and goings of a wide variety of characters, all trying to survive in a poverty-stricken Madrid during World War II. Rather than feature any single story line, these people from all walks of life cross paths almost randomly as they come to a café to sip their one cup of coffee and work on a book, or pick up a prostitute, or get their shoes shined, or play billiards, or just warm themselves on a cold winter's day. This primary setting is complemented by a brothel where a dirt-poor journalist sleeps if there is a room available that night, while during the day he tries to make ends meet one way or another. The demeanor of the people in the café or in the brothel effectively conveys the atmosphere of a long-lost era that may have had hardships but also brought a subtle sense of camaraderie to very disparate human beings. ~ Eleanor Mannikka, Rovi

In this non-narrative film, a salesgirl becomes embroiled in a lengthy discussion with a soldier and a film director. ~ Clarke Fountain, Rovi

When the elderly, wealthy customer of an aging prostitute invites her to marry him, she accepts. Soon she finds herself the object of attention from the old man's son and his business partner. The business partner is not only attempting to woo her, but is also attracted to the son. After the old man dies, she marries the partner but winds up bedding the son. ~ Clarke Fountain, Rovi

One of five adaptations of the Marquis de Sade's Philosophy in the Boudoir directed by cult filmmaker Jesus Franco, this version was perhaps the most subdued, although it was still explicit enough to encounter censorship problems. Maria Rohm stars as Mme. de St. Ange, who reads the Marquis' book and fantasizes about its excessive content. St. Ange has sex with a man named Mistival (Paul Muller) in exchange for permission to take his lovely daughter Eugenie (Marie Liljedahl) to her vacation island. When they arrive, St. Ange and her lover Mirvel (Jack Taylor) seduce Eugenie into joining their bizarre sexual role-playing. A party follows, during which Eugenie is drugged and forced to submit to sadomasochistic games directed by Dolmance (Christopher Lee) and his oddly-dressed followers. When she awakens from her stupor, however, Eugenie finds that the games have turned to murder. Nino Korda and Herbert Fuchs co-star in this provocative exploitation film. Christopher Lee's role as the narrator Dolmance was originally accepted by George Sanders, whose personal crises forced him to withdraw prior to production. Franco returned to the same source material for Eugenie de Sade (1970), Plaisir a Trois (1973), Cocktail Special (1978), and Eugenie, Historia de Una Perversion (1980). ~ Robert Firsching, Rovi

The business of death provides the framework for this black comedy about a mortician's assistant who wants to marry an executioner's daughter. Her father really wants to change professions, but cannot, as he will lose his new government-sponsored apartment. The young man is persuaded to take over the job, but he swears he will quit before he must kill someone. Unfortunately, an execution is scheduled shortly before the beginning of a major carnival, a time when many executions are halted. The bride and groom travel there, hoping the victim will be pardoned, but he is not and the groom must fulfill his duty. Although he swears he will never do another, his face tells another story, and the old executioner knows that many more state-sanctioned deaths will follow. ~ Sandra Brennan, Rovi