Madera

Lágrimas rojas(es)

Francisco Boix: A Photographer in Hell(es)

In 1939, just finished the Spanish Civil War, Spanish republican photographer Francesc Boix escapes from Spain; but is captured by the Nazis in 1940 and imprisoned in the Mauthausen concentration camp, in Austria, a year later. There, he works as a prisoner in the SS Photographic Service, hiding, between 1943 and 1945, around 20,000 negatives that later will be presented as evidence during several trials conducted against Nazi war criminals after World War II.

Voces contra el silencio(es)

A documentary about the recovery of the historical memory of the Malaga town of Archidona, a journey through the history of Archidona from the Second Republic to the last years of the post-war period. A work that speaks, above all, about people, experiences, emotions and feelings.

La Historia Enterrada(es)

Spain(ru)

A feature-length documentary based on film reports from the Spanish civil war.

Heroic Spain(es)

Documentary produced by Falange and edited in Berlin, in response to the international success of the Republican production "Spain 1936" (Le Chanois, 1937).

Romancero marroquí(es)

The young farmer Aalami leaves his family to find work elsewhere. He gets to know the country and its people, customs and traditions at Küste in North Africa: Market life in Tetuan, the art of craftsmanship, the life of the Moors, dances and festivities in honour of the caliph, white mosques, the call of the muezzin of the minaret and the music of the shepherd flutes. Aalami also follows Franco's call and flies from Morocco to Spain to fight at Bürgerkrieg. In the end Aalami comes back to his wife and children.

The Ponzán Network(es)

During the Spanish Civil War (1936-1939) and the Second World War (1939-1945), around three thousand people managed to elude their pursuers, and probably also avoided being killed, thanks to the heroic and very efficient efforts of the Ponzán Team, a brave group of people — mountain guides, forgers, safe house keepers and many others —, led by Francisco Ponzán Vidal, who managed to save their lives, both on one side and the other of the border between Spain and France.

Spanish A.B.C.(en)

A short film on Republican efforts to improve education standards during the Spanish Civil War.

Rocío(es)

The film shows the genesis of the El Rocío pilgrimage and unveils the economic, socio-political and religious reasons and interests that nurture the phenomenon.

¿Por qué morir en Madrid?(es)

Aquí y allí: journal d'une exilée(es)

While cleaning the apartment of Lucía, her deceased grandmother, Anna finds a notebook where she discovers the story of a secretly kept love, lived during the turbulent years of the Second Republic and the Spanish Civil War.

Fallas 37: el arte en guerra(es)

In November 1936, a few months since the beginning of the Spanish Civil War, the government of the Second Republic moves to Valencia. In this situation, several Valencian artists and intellectuals decide to build four fallas — satirical plasterboard sculptures created to be burnt — to mock fascism.

Why Did We Lose the War?(es)

A documentary about how Republican forces lost to Franco in the Spanish Civil War.

The Moroccan Labyrinth(es)

Cautivos en la arena(es)

Más allá de la alambrada: la memoria del horror(es)

La doble vida del faquir(es)

La doble vida del faquir (The magicians) returns to the scene of a school in the Catalan town of Sant Julià de Vilatorta where, in 1937, in the midst of civil war, a film-maker in hiding and a group of orphaned children dressed up as sultans and explorers shot an exotic adventure film. The films protagonists relive those childhood days when they were able to switch their school smocks for oriental turbans, while reality imposed its own fancy dress ball with military uniforms and priests dressed in civilian garb.

Extranjeros de sí mismos(es)

Celuloide colectivo: el cine en guerra(es)

July, 1936. The terrible Spanish Civil War begins. When the streets are taken by the working class, the social revolution begins as well. The public shows are socialized, a model of production and exhibition of films, never seen before in the history of cinema, is created, where the workers are the owners and managers of the industry, through the unions.