Chus Lampreave Movies

Chusa is a fashionable and party-loving denizen of modern-day Madrid. Some of her flashy lifestyle is paid for by her amateur hashish-smuggling operation. Like many others, she often flies down to Morocco to score some of this marijuana-derived drug and then smuggles it back in various places on her body. She would like to smuggle more but needs a reliable courier. One candidate for the operation is Elena, an old friend of hers. However, there is just one problem: Elena is a virgin, and at least one of her body orifices won't accommodate much of the drug. Chusa asks her policeman boyfriend to help Elena past this handicap, and he reluctantly agrees. Unfortunately for her, the two friends become much friendlier than she had intended, and soon she is on her own, her smuggling plans in a shambles. When she gets to Morocco, she experiences even more setbacks. ~ Clarke Fountain, Rovi

The Spanish I'm the One You're Looking For bears echoes of Alfred Hitchcock, though it's unlikely that Hitch would have pushed the envelope as far as director Jaime Chavarri does here. Patricia Adriani plays a beautiful model who is the victim of a brutal rape in a dark section of Barcelona. The violation has an astonishing effect on the young woman. She becomes obsessed with meeting her rapist again, and to that end frequents the seediest of locales and commiserates with the lowest forms of humanity. The question raised here is whether Ms. Adriani is seeking vengeance or some bizarre form of sexual fulfillment. ~ Hal Erickson, Rovi

Pepe Soriano plays a Madrid shopkeeper who is kidnapped by henchmen of Franco in this political comedy. After his kidnapping, he is forced to become the dictator's double for many official ceremonies. Due to his long and unexplained absence, Pepe's wife believes her husband has been abducted and killed, so she tries to reach her husband through spiritualism. After Pepe surprises her with a nocturnal visit, he tells her he will touch his ear to signal it is he and not Franco in public appearances. ~ Dan Pavlides, Rovi

Eschewing a realistic depiction of Franco's Spain in the 1940s, director Fernando Trueba uses a touch of sarcastic humor in painting a 16-year-old's brief stay in a TB sanatorium. Manolo (Jorge Sanz) is one of two brothers who ends up in a tuberculosis sanatorium that is specifically designed for somewhat younger children. Manolo's problem is that he is experiencing the first stirrings of sexual desire and cannot look upon the female nurses and staff with the innocent eyes of the other children. His first overtures to one of the nurses meets with rejection; in fact, the nurse leaves the sanatorium. Manolo really asks for trouble when he falls for another pretty nurse and she herself becomes attracted to him. ~ Eleanor Mannikka, Rovi

This is an off-beat, fast-paced, and well-wrought love story involving two very different people: Lucia (Assumpta Serna) is a computer operator whose sexual inclinations are alternately normal and kinky, and Arturo (Xabier Elorriaga) is a company representative from another town, with a wife and young child. After Lucia and Arturo meet, they start an affair that eventually takes on enough meaning for Arturo to split from his wife. In the meantime, Lucia is indulging her sado-masochistic tendencies on the side with at least one other partner -- knowing that if Arturo finds out, their relationship may be over. ~ Eleanor Mannikka, Rovi

In this Pedro Almodóvar film, a singer at a low-end nightclub hides out at a convent after her lover dies of a bad dose of drugs, and she meets a group of off-the-wall nuns while in hiding. The nuns range from one who writes sensationalist pulp fiction under a pseudonym to another who takes drugs, and another hooked on masochism. But their private lives and perverse foibles may be in jeopardy when a new mother superior arrives to take charge of the convent. ~ Eleanor Mannikka, Rovi

Director Gonzalo Suárez wrote this sequel to his 1967 film Ditirambo in which the lead character has a friend and fellow writer named Rocabruno (Francisco Rabal) who struggles with writer's block on a grand scale. Ditirambo (José Sacristán) has more enthusiasm than his friend, and unflinchingly prods and pushes to get the blocked ink flowing again. Just as in the earlier film, and in Suárez' book on these characters, there is no clear line between reality and fantasy, no logical plot, quite a few skits that illustrate the two writers' imaginations, and a bit of humor. The off-beat nature of this somewhat experimental movie may not be for all audiences though Suárez garnered a cult following for the first Ditirambo film. ~ Eleanor Mannikka, Rovi

This is the third film in a sequence that started in 1978, about the Marquis de Leguineches, his hopeless son Luis José, his mistress/servant Viti, and in this instance, a Catholic priest. The Marquis has been living in Madrid since he lost his villa, and when his father-in-law dies, the family gets together and that becomes a catalyst for thinking more directly about their future. This leads to the Marquis' decision to leave Spain with the family's money, yet it will be difficult to cross the border without having their wealth confiscated by the authorities. So the Marquis fakes a broken leg and stashes the wealth inside his cast on a journey to Lourdes to seek a miracle. Unfortunately, France is no more amenable than Spain to the wealthy aristocracy since Mitterand's socialist government has just been elected into power. Between his unwieldy cast, the crazy family members, and the problem of where to go next to keep his fortune intact, the Marquis has a rough time of it. The repartée among the Marquis' family members and friends will entertain most audiences, but the originality of the 1978 family has worn thin by now and will be difficult to stretch into yet another episode in the future. ~ Eleanor Mannikka, Rovi

A monosabio or "wise monkey" is one of the many necessary attendants at bullfights, working alongside the picadors and toreros. Of them all, the monosabio is the least respected and the poorest-paid. In this story, Juanito (Jose Luis Lopez Vazquez) is such a man. He has no real hope of fulfilling his own dreams of bullring glory but has noticed a young man in the neighborhood who looks promising. His daughter, who has been seeing the young man, has become pregnant by him. Without knowing this, Juanito robs her of her nest egg (set aside for an abortion) so as to put on an exhibition bullfight to bring the lad to the attention of the bullfighting world. In this comedy/drama, despite a few unexpected turns of events, things turn out well for everyone. ~ Clarke Fountain, Rovi

This strange film takes the story of a Spanish country matron into new ground. Adela (Jose Luis Lopes Vasquez) lives a conservative life in her village with her maid. When she scolds her maid for having an affair, the indignant maid runs off to Madrid. Adela receives the courtship of a local businessman, but, after accepting his engagement ring, she is disgusted by his further advances. Disturbed by this, she follows her priest's advice to seek psychiatric help. The psychiatrist, a doctor, tells her that she is, in fact, a man. Adela, horrified, cannot bear to return to her village and takes up life in Madrid as Juan. Her identification papers list her as a woman, and she must improvise in order to survive. There is a lot more to this odd story, made odder still because it is not a comedy, but a romantic drama. ~ Clarke Fountain, Rovi

A follow-up to Spanish enfant terrible Pedro Almodóvar's 2006 arthouse sensation Volver, Los Abrazos Rotos finds the filmmaker re-teaming with actress Penélope Cruz and working on a canvas much broader than those of his previous outings, in terms of genres covered, narrative scope, and duration. Lluís Homar stars as the former Mateo Blanco, a screenwriter and ex-director who changed his name to Harry Caine after losing his sight in an automobile accident. A past scandal suddenly resurfaces when the news arrives that the producer of one of Harry's old movies ("Girls and Suitcases"), a corrupt stockbroker named Ernesto Martel (José Luis Gómez), has died. For mysterious reasons, this makes Harry's ex-production manager Judit (Blanca Portillo) nervous; then Ernesto's son, Ray X (Rubén Ochandiano), turns up and asks Harry to help him write a vindictive script to get back at his vile father. The film subsequently flashes back to the early '90s, when Martel became involved with his secretary, Lena (Cruz), but Mateo also began to develop feelings for her, and auditioned her for "Girls and Suitcases." In response to Mateo's interest in Lena (and her burgeoning interest in him), the jealous Martel commissioned Ray to make a documentary about the making of "Girls and Suitcases" as an excuse to spy on the director and star. This enabled him to watch Mateo spiriting off with Lena right under his nose, and set the stage for the wily producer's elaborate revenge against Mateo. As this synopsis suggests, Almodóvar uses a tricky structure laden with flashbacks to both comment on and explain the events of the present; he also interweaves a noirish sensibility throughout the picture that marks something of a first for this director. ~ Nathan Southern, Rovi