Unbändiges Spanien

Así venceremos

Un día de guerra en el Frente de Aragón

Estampas guerreras. Número 1

Valencia y sus naranjos

Madera

El tribunal de las aguas

La defensa de Madrid

Hombres del porvenir

La Mancha y el azafrán

Prisioneros en Valencia

Un año de guerra

Dieciocho de julio, número 2 - Madrid

Frente de Teruel

Castilla se liberta

A particular reading of the hard years of famine, repression and censorship after the massacre of the Spanish Civil War (1936-39), through popular culture: songs, newspapers and magazines, movies and newsreels.

The Colegio de Arquitectos de Catalunya commissioned Pere Portabella to make this film for the Joan Miró retrospective exhibit in 1969. There were heated discussions on whether it would be prudent to screen the film during the exhibit. Portabella took the following stance: "either both films are screened or they don't screen any" and, finally, both Miro l'Altre and Aidez l'Espagne were shown. The film was made by combining newsreels and film material from the Spanish Civil War with prints by Miró from the series "Barcelona" (1939-1944). The film ends with the painter's "pochoir" known as Aidez l'Espagne.

A new look at the Spanish Civil War, from the 'graffiti' drawn in the dungeons of Cangas del Narcea by political prisoners sentenced to death.

The adventurous life of Natacha Rambova (1897-1966), an American artist, born Winifred Kimball Shaughnessy, who reincarnated herself countless times: false Russian dancer, silent film actress, scenographer and costume designer, writer, spiritist, Egyptologist, indefatigable traveler, mysterious and curious; an amazing 20th century woman who created the myth of Rudolph Valentino.

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.