Miguel Angel Rellan Movies

Directed by Cesar Herrada, Cuando Todo Este En Orden follows widower Ignacio (Santiago Ramos) on his return to his hometown. Things have changed since the last time he visited--now unemployed and poor, the clean house that he left two years ago is a mess, his moterbike has been sold by his son Pablo (Daniel Guzman) for drug money, and his spot in the local choir he had founded with his wife has been filled. Pablo, meanwhile, is returning home from a stint in rehab, and arrives on the same day as his father. Pablo's personal relationships are all on the rocks, from his wife and daughter to his father, and the now-sober young man decides to take whatever steps he can to repair them.

~ Tracie Cooper, All Movie Guide

For Astarlos, living in Madrid at the time of the troubled rule of Isabel the Second in 1868, fencing is not an outmoded method of personal combat, but it is a way of life. It teaches lessons about comportment, attention, responsiveness to others, and taking responsibility for one's own life. Further, it is an aristocratic art, and the heart of aristocratic sentiment (no matter what one's station of life at birth) is to take responsibility for those who are less fortunate than oneself. Noblesse oblige. In this drama, the fencing master seeks to remain true to his values during a turbulent time which imperils his student's lives. One student is a beautiful and mysterious young woman, another is a handsome lad of aristocratic birth. Among the outsiders impinging on their lives are a police inspector and a passionate revolutionary. ~ Clarke Fountain, All Movie Guide

In Ay, Carmela, filmmaker Carlos Saura again harks back to his bitter childhood memories of the Spanish Civil War. Carmela (Carmen Maura), Paulino (Andres Pajares) and Gustavete (Gabino Diego) are travelling entertainers, trouping through Spain to perform their act before the Republican troops. Early one morning, the three artistes find themselves in Franco-controlled territory. In mute terror, the captive entertainers witness the deaths of several innocents at the hands of the fascists. Then they are forced to do a show for their captors. Swallowing their pride and hiding their disgust, the entertainers agree to do so. But Carmela is unable to go through with this humiliation: before an assembly a Francoites, she defiantly sings a paean to the Loyalist cause...and in so doing, achieves martyrdom. ~ Hal Erickson, All Movie Guide

This wacky comedy depicts a single day in and around the set of a movie on the Spanish Civil War being filmed in a working class Madrid neighborhood. Paloma, (Ana Belen), a bored housewife with a husband who is too concerned about being exploited by "the ruling classes" to work, must evade the romantic advances of an unattractive fishmonger, and cope with the attentions the male lover of a homosexual fascist is showering on her daughter. Meanwhile, she engages in a tryst with the equally bored fading film star Luis Doncel (Juan Luis Gallardo). Everyone on the set is waiting for the director to show up, but he's too heavily involved in a domestic dispute to work. Meanwhile, a series of strikes has brought Madrid to a virtual standstill. Director/co-writer Jose Luis Garcia Sanchez manages to satirize virtually every aspect of contemporary Spanish society, as well as relationships between the sexes. ~ Clarke Fountain, All Movie Guide

In this idiomatically Spanish comedy, set in the woodlands of Galicia in the 1920s, a large cast of oddballs and fools somehow manage to carry on with their lives (and deaths). One of these odd ducks is a bandit who cannot quite manage to pull off a robbery, though the travelers he meets are quite obliging. Another is a ghost who wishes he had traveled to America before dying. Even a funeral is a source of laughter, as two spinster sisters send the dead one off into the afterworld with countless messages and admonitions for their deceased relatives. ~ Clarke Fountain, All Movie Guide

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, All Movie Guide

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

In this engaging comedy, Ana (Veronica Forque) is the wife of Antonio (Antonio Resines), the assistant to the minister of health. When Antonio sets up a clinic to combat sexually transmitted diseases, Ana and her friend cruise the gay bars and the red-light district for potential customers. Soon Antonio is called before his irate boss, who tempers his indignation when he, his wife, and his mistress becomes clients. ~ Dan Pavlides, All Movie Guide