Conrado SanMartin Movies

Behind the peaceful walls of an impoverished medieval Spanish convent lies a teeming hotbed of ambition, lies and double-crossing as can be seen in this powerful, thought-provoking drama that is based upon Jesus Fernandez Santos' novel. The convent is set in an arid area and sole support comes from the local duke. The plague has been ravaging the surrounding town and panicky residents who are not yet afflicted flee. Sister Angela becomes ill and is nursed by her devoted friend Sister Ana. Angela slowly gets stronger and as she does, she begins reading about the lives of the saints. She begins to believe that the only way to save the decimated village from further chaos is to host a miracle. Sister Angela then has Sister Ana make deep slices into her palms to look like stigmata. The townsfolk believe that Angela's hands are bleeding spontaneously, but the mother superior isn't so sure and sets out to prove the miracle a fake. She can't and the villagers begin to revere Sister Angela as a saint. The mother superior can't bear this, and when Sister Angela is elected the new prioress, she goes over the edge with her desire for revenge. Things get even worse when the duke shows up and promises to give the convent enough support to make them one of the most powerful in Spain if they will host his daughter, who is thinking about joining the nunnery. Unfortunately, the haughty young woman is more interested in running things her own way. The deposed mother superior conspires with her at every opportunity, and when Sister Angela's palms suddenly becoming dangerously infected, the prioress finally gets her chance for revenge. ~ Sandra Brennan, Rovi

This is the fascinating study of a woman in early colonial-era Spain who suffers from the usual grievance of women of that period -- a profound lack of choices. On reaching maturity, she has exactly two: get married to someone of her family's choosing, or become a nun. However, noblewoman Catalina de Erauso was not happy with those choices to begin with, though she chooses the nun option, and after the nun she has fallen in love with dies, she escapes the convent dressed as a man. Then she enters the Spanish military, travels to the New World, and fends off advances from women who find "him" irresistible. Since this is an era when women's cross-dressing can result in charges of heresy or the death penalty, what happens next is truly amazing. When she is finally revealed as a woman, the King of Spain asks to meet with her. Instead of killing her, he grants her a pension, the rank of lieutenant in the Spanish army, and gives her lifelong permission to dress as a man. It may appear to viewers that two different women play Catalina. This is correct: one plays her when dressed as a woman, and Esperanza Roy plays her in male attire. ~ Clarke Fountain, Rovi

Hypocrisy and betrayal are the two dramatic pivots in this effective, emotionally gripping tragedy about the life and death of Paco (Antonio Banderas), a Spanish peasant who had been fighting against the feudal landowning system that kept farmers impoverished. Paco's life is told in flashbacks by a priest (Antonio Ferrandis) who is seen officiating at an anniversary mass attended by three wealthy landowners and no one else. The priest recalls Paco's baptism, his communion, his marriage ceremony and then his work for the peasants as he advocated and led them in a land-reform movement. The rest of the story will rest heavy on the priest's conscience, as he looks out at his empty church. ~ Eleanor Mannikka, Rovi

Acclaimed horror director Lucio Fulci infuses the sword-and-sorcery genre with gory decapitations, pus-squirting lesions and flesh-eating zombies in this uneven fantasy. The hero of the piece is young Ilias (Andrea Occhipinti), who, along with his bolo-swinging friend Maxz (Jorge Rivero), battles monsters, mutant tribes, and an evil queen (Sabrina Siani) on his journey to manhood. As the evil Ocron, the topless Siani wears a gold mask and bikini bottoms while writhing around on a fur rug covered with live snakes. Siani rules over a risible tribe of people in dog masks who blow narcotics up each others' noses through a straw, and conjures up wolf-warriors from her dreams to shoot poisonous straws at her enemies. The American version is missing much of the gore, but is still far too explicit for the young audiences at whom it is apparently aimed. Terrible special effects, hazy cinematography and inappropriately modernistic music by Claudio Simonetti do not make the film very enjoyable for adults either. Still, it is well-paced and Occhipinti makes a sympathetic lead, making the film worthwhile, if only for genre completists and Fulci devotees. ~ Robert Firsching, Rovi

When the lights go off at a meeting of the Central Committee of the Communist Party, no one suspects anything more than the usual power outage -- until the Secretary General, Santiago Carrillo, ends up murdered in that short span of time. The Party calls in a private investigator, and the government asks a rabid anti-communist to find out who committed this crime. From that point onward, the KGB and the CIA are somehow involved, and the climate degenerates into one of torture and sex, though not both at the same time. As the private investigator bumbles his way from one predicament to the other, the solution to the crime seems in no danger of immediate discovery. ~ Eleanor Mannikka, Rovi

In Sergio Leone's epic Western, shot partly in Monument Valley, a revenge story becomes an epic contemplation of the Western past. To get his hands on prime railroad land in Sweetwater, crippled railroad baron Morton (Gabriele Ferzetti) hires killers, led by blue-eyed sadist Frank (Henry Fonda), who wipe out property owner Brett McBain (Frank Wolff) and his family. McBain's newly arrived bride, Jill (Claudia Cardinale), however, inherits it instead. Both outlaw Cheyenne (Jason Robards) and lethally mysterious Harmonica (Charles Bronson) take it upon themselves to look after Jill and thwart Frank's plans to seize her land. As alliances and betrayals mutate, it soon becomes clear that Harmonica wants to get Frank for another reason -- it has "something to do with death." As in his "Dollars" trilogy, Leone transforms the standard Western plot through the visual impact of widescreen landscapes and the figures therein. At its full length, Once Upon a Time in the West is Leone's operatic masterwork, worthy of its legend-making title. ~ Lucia Bozzola, Rovi

In this historical costume drama from director Pino Mercanti, Caterina Sforza (Gloria Milland) uses beautiful women as assassins in order to poison Cesare Borgia (Cameron Mitchell). The film deals more with Borgia's reputation as a playboy than with his military victories, and the accent is on Sforza's jealousy and hatred. Mitchell was a regular presence on Italian screens throughout the decade, and Euro-film buffs will recognize Conrado San Martin and Franco Fantasia among the cast. ~ Robert Firsching, Rovi

In this drama, a widowed duchess finds herself drawn to leader of a mercenary band. The cavalier leader offers to save her from her avaricious, land-grabbing neighbor, but then suddenly goes to work for him when the neighbor pays a hire price. This enrages the duchess, but fortunately, he comes back when he rescues a bride whose wedding has been invaded by the evil neighbor. ~ Sandra Brennan, Rovi

Per its title, Faustina is a distaff variation on the Faust legend. In this case, Mexican film favorite Maria Felix plays a woman who sells her soul to the Devil in exchange for beauty and wisdom. Actually, she bargains with the Devil's assistant (Fernando Gomez), who happens to be one of the woman's former lovers. The would-be demon spends the rest of the film trying to thwart the poor woman's happiness, but eventually declares that he's still in love with her. Not to be taken seriously, Faustina was an enjoyable digression from the usual portentous fare at the 1957 Cannes Film Festival. ~ Hal Erickson, Rovi