Aún me quedan balas para dibujar

Dix Jours dans la guerre d'Espagne

Más allá de la alambrada: la memoria del horror

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

Siempre días azules

Agustina González. La zapatera que miraba a las estrellas

A pro-Republican propaganda documentary made during the Spanish Civil War. It reports on the demonstration held in Barcelona on December 27, 1937 to commemorate the capture of Teruel by the Republican forces.

La Historia Enterrada

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

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.

Documentary that narrates a key moment in our history: the Franco coup d'état, the cruel repression that was carried out and the attempts at resistance in the Charra province. Many people are convinced that Salamanca surrendered with open arms to the coup plotters; However, nothing could be further from the truth. In Salamanca there was repression and there were attempts at resistance; There were arrests and there were tortures, there were shootings and there were disappearances. In Salamanca there was also harsh repression that manifested itself in all its forms.

At the start of 1939 an exodus of nearly 500,000 Spanish Republicans, soldiers and civilians together, fleeing Franco's troops crossed the border to France. Louis Llech, a Perpignan based shopkeeper and enlightened amateur cineaste, owned a 16mm camera. Together with his friend Isambert, he filmed this extraordinary migration. Fascinated by the military aspect of this Retirada, he favoured shots of parades, of crowds, like those showing military equipment. He nonetheless also showed civilian distress, without insisting on its picturesque aspects, focussing more on images of the uninterrupted flow of refugees.

Marcos y Vida

After the discovery of a suitcase hidden in the family home of Francisco Martínez Gascón, known as Kautela, a photojournalist who lived through the Spanish Civil War from the perspective of the rebel side, his granddaughter decides to carry out an investigation into his life and work.

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.

The story of the tortuous struggle against the silence of the victims of the dictatorship imposed by General Franco after the victory of the rebel side in the Spanish Civil War (1936-1975). In a democratic country, but still ideologically divided, the survivors seek justice as they organize the so-called “Argentinian lawsuit” and denounce the legally sanctioned pact of oblivion that intends to hide the crimes they were subjects of.

Contracampos is the attempt to (re)build a landscape. A recreational area and a shooting range in the west of Asturies, which, between 1937 and 1943, housed a Francoist concentration camp through which thousands of Republicans passed – firstly militiamen, later guerrillas and their relatives. Sharing a leisurely observation with the viewer, the film intends to resignify that space, giving it back its political meaning. But it is not a question of showing –of filming– the invisible, but rather of showing what is missing in what exists today. What was and is no longer, not even in people's memories.

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.

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.

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.