Patricia Adriani Movies

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

Film noir and comedy are successfully thrown together in this off-beat story about Germain (Antonio Resines), a stage producer trying to put together the two leads and backing for his next drama. Germain is looking for a man to play a psychotic obsessed with his mother and a woman to play a seductress. For the male lead he finds Rufo (Imanol Arias) who depends on robbery for a living, takes care of his drug-addict mother, and has hallucinatory visions about the Pope. The female lead has three contenders: Germain's ex-girlfriend Nena (Amparo Munoz), his ex-wife Amelia (Assumpta Serna), and Lola (Patricia Adriani) a beguiling vamp he met in a taxi one day. Germain soon finds that casting can be a nightmare when Nena's husband (his potential backer) lusts after Lola, Nena has her amorous sights set on Rufo, and Germain's ex-wife Amelia runs after a soccer player. Add in a murder, and absurdity rules the day. ~ Eleanor Mannikka, Rovi

A confusing melange of sequences and episodes, this experimental film by Jesus Garay remains an enigma from beginning to end. The heroine, such as she is, seems to have a quasi-religious meaning since she manifests the marks of stigmata and appears to want to be crucified. Her associates include a strange journalist and a wannabe filmmaker, the two other figures that complete the trio of central protagonists. ~ Eleanor Mannikka, Rovi

In his second successful starring role in 1983, Agustín Gonzalez is a father who runs a wine shop in Madrid, a city under a three-year siege (1936-1939) because the Nationalists forces of Francisco Franco need to take Madrid before the fascist dictator can be installed in power. The siege has left the Madrileños with very little food, living under the threat of bombs, and worrying about the prospects of defeat. It is the sense of impending disaster, of hunger and deprivation that is oddly missing from this cinematic interpretation of the play by Fernando Fernán Gómez. The daughter in the family (Victoria Abril) enters into a love affair with a soldier and ends up having a baby, the son (Gabino Diego) is coming of age with the maid - and life seems to go on with all its proverbial ups and downs. But without the sharp dialogue of the play itself, this film is not as tautly strung, or as convincingly real as the stage production. ~ Eleanor Mannikka, Rovi

A series of vignettes is woven into a larger story in this first film to be written and directed by Juan Minon and Miguel A. Trujillo. A writer who works in a bookshop to earn a living meets a wealthy American named Kargus looking for talent to ensconce in his projected art colony in the Gilbert Islands. In order to convince the American to take him on as a good prospect, the writer promotes his own stories -- the vignettes seen in the film. One story is about a young man trying to impress his girlfriend with his new car, a car he indirectly borrowed from a rental agency. His efforts to hide the rental sign on top of the car lead to various comical posturings. Other vignettes are from the era of the Spanish Civil War, including one about two people trying to survive by hunting cats and killing them to sell to butchers. Another vignette shows pro-Franco activists eradicating anti-Franco graffiti in Madrid. Each vignette stands on its own, without an underlying theme to tie the group together. ~ Eleanor Mannikka, Rovi

The complex relationship between a thirteen-year-old girl (Ana Torrent) and an old man living in lonely but wealthy splendor is the focus of this drama. Alejandro (Hector Alterio) spends his time playing chess on a computer, riding his horses, or enjoying classical music. His life starts to change under the influence of young Goyita (Torrent) who slowly becomes a friend and then begins to impose on him in not-so-subtle ways. First she wants him to burn his dead wife's clothing, and before long she intends to involve him in a plot of revenge against a Civil Guard. Torrent received a 1980 Best Actress award at the Montreal Film Festival for her performance. ~ Eleanor Mannikka, Rovi

A mix of characters and actions create only a semblance of a plot in this confusing tale of intrigue, undefined crimes, and incest. A newspaper reporter is working on a story about a criminal serving time in jail. He interviews the prisoner, has an affair with the criminal's daughter, and also spends some time in bed with his editor's wife. His amorous life is an adjunct to his searching out the details of the prisoner's case -- though tragedy strikes before the journalist can wrap everything up. In the meantime, it becomes clear that the daughter and imprisoned father had an incestuous relationship, raising more questions than answers. ~ Eleanor Mannikka, Rovi