¿Por qué morir en Madrid?(1966)

Gestern und heute(en)

Nazi propaganda film contrasting Germany in the days before Adolf Hitler became Chancellor with the Germany of "today" and how much better it is.

Die Bauten Adolf Hitlers(en)

Nazi Third Reich propaganda film that used architecture as a statement about "racial accomplishment," and so called "racial superiority." Hitler claimed that between 1934 and 1940, the Nazi rule of Germany had produced architectural uniqueness, and this film was produced to shown to attempt to validate that. The opening montage gives a survey of earlier Gothic and Baroque structures in the country as an example of "architectural superiority" that the German race was said to be the sole inventor of; then moves on to deride the recent construction of the Bauhaus school (with a racially motivated score of Jazz music) and an example of German "architectural decay." Then proceeds to show off buildings constructed by the Nazi and an architectural revival, to "last 1000 years," Film also spends a great of time dwelling on massive and "busy" monuments that had been erected all over the county.

Así venceremos(es)

Un día de guerra en el Frente de Aragón(es)

Estampas guerreras. Número 1(es)

Valencia y sus naranjos(es)

Land Without Bread(es)

An exploration —manipulated and staged— of life in Las Hurdes, in the province of Cáceres, in Extremadura, Spain, as it was in 1932. Insalubrity, misery and lack of opportunities provoke the emigration of young people and the solitude of those who remain in the desolation of one of the poorest and least developed Spanish regions at that time. (Silent short, voiced in 1937 and 1996.)

Railway Station(pl)

Kieslowski’s later film Dworzec (Station, 1980) portrays the atmosphere at Central Station in Warsaw after the rush hour.

Sonntag der 13.(de)

Propaganda movie produced by GDR television on the occasion of the 20th anniversary of the erection of the Berlin Wall.

Madera(es)

El tribunal de las aguas(es)

La defensa de Madrid(es)

Hombres del porvenir(es)

La Mancha y el azafrán(es)

Prisioneros en Valencia(es)

Un año de guerra(es)

Dieciocho de julio, número 2 - Madrid(es)

Frente de Teruel(es)

Castilla se liberta(es)

Clawing! A Journey Through the Spanish Horror(es)

In the late sixties, Spanish cinema began to produce a huge amount of horror genre films: international markets were opened, the production was continuous, a small star-system was created, as well as a solid group of specialized directors. Although foreign trends were imitated, Spanish horror offered a particular approach to sex, blood and violence. It was an extremely unusual artistic movement in Franco's Spain.