Chus Lampreave Movies

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, All Movie Guide

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, All Movie Guide

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, All Movie Guide

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, All Movie Guide

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, All Movie Guide

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, All Movie Guide

Once-great Spanish matador Nacho Martinez has been reduced to starring in gruesome "snuff" films. Martinez is idolized by Antonio Banderas, who has no notion of his idol's current illegal profession. Terrified at the thought of drawing blood in the bullring, Banderas nevertheless seeks out Martinez' assistance in preparing for a bullfighting career. To prove his "machismo", Banderas rapes Martinez' lady-friend Eva Cobo. No one will believe Banderas' confession of the rape, so he decides to attach more importance to his crime by confessing to a recent rash of serial killings (actually perpetrated by Martinez and his cohorts). Bandera's case is taken by feminist attorney Assumpta Serna, who unwittingly--but not unwillingly--sets herself up as Martinez' next "conquest." ~ Hal Erickson, All Movie Guide

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, All Movie Guide

Pedro Almodóvar follows his international success All About My Mother with an offbeat drama that explores the friendship of two men brought together under unusual but strangely similar circumstances. Benigno (Javier Camára) is a male nurse whose apartment overlooks a dance studio run by Katerina (Geraldine Chaplin); he often sits on his balcony and watches one of Katerina's students, Alicia (Leonor Watling), and he finds himself becoming infatuated with her. When Alicia is severely injured in an auto accident that leaves her in a coma, Benigno discovers she has been admitted to the hospital where he works, and he spends his days caring for a woman he now deeply loves but has barely met. Marco (Darío Grandinetti) is a journalist who was assigned to interview Lydia (Rosario Flores), a well-known female bullfighter whose on-the-rocks romance with another toreador, "El Niño de Valencia" (Adolfo Fernández), has made her the focus of the tabloid press. During Marco's interview with Lydia, he goes out of his way to treat her kindly, and she appears to return his attention. During the bullfight which follows, Lydia is gored by the bull, and is now in a coma; Marco is certain his interview broke her steely concentration, and he spends most of his days at the hospital, convinced her injuries are his fault. Alicia and Lydia are both housed in the same ward of the same hospital, and in time Benigno and Marco become close friends, bonding in their shared devotion to women who cannot return their affection. ~ Mark Deming, All Movie Guide