Buenos Aires screenwriter Pablo is hired to write a new romantic comedy. As he begins his story, he visualizes his characters living in Madrid. Pablo creates a meet-cute between Marina and Víctor, a cute couple in Madrid who are soon totally in love. Yet as Pablo gets more and more into the script, he finds it difficult to separate his movie characters from what is happening in his own real life – specifically, his own love life.
When nurse Gloria has financial difficulties, her friend Dr. Ana Torres invites her to move with her six year-old daughter Vicky to her old big house where she runs a gynecologic clinic. In return, Gloria will assist Ana in her clinic in the afternoons.
A short documentary on the rise and fall of Nazisploitation films.
The Baixada Fluminense already had numerous street cinemas, where members of the Rio de Janeiro had access to a good movie without worrying about the rush of the shopping malls, today with the end of the 35mm film, the street cinemas of Baixada became history. Thinking about the interaction of street cinemas, the documentary aims to show its importance to the population and the population coming from this peripheral area, in order to perpetuate the memory of the glory days of the theaters of the street, thus recovering a historical record of this I have a different look at the last survivor: the movie network CINE SANTA ROSA.
A look into the films and career of cult film director Bruno Mattei.
A man who works at a book shop and writes for a film magazine meets the woman who photocopies his ID; as well as another man, an illustrator. They get together with a man who works as a waiter and produces independent cinema.
Short countdown on obscure slasher films.
Una película de gente que mira películas takes place in a video store in Buenos Aires, where a group of clientes shoots a film, so they can quit being spectators and became filmmakers. In the voices of this seven characters, the film explores the different possibilities of the seventh art in order to reflect in visual terms and stands as a symbolic construction of reality.
Upon the outbreak of the Spanish Civil War in July 1936, the anarchist union CNT socialized the film industry in Spain, so in Madrid and Barcelona film workers took over the production assets and, between 1936 and 1938, numerous films on a wide variety of topics were released, composing a varied mosaic that gives rise to one of the most unusual and original moments of Spanish cinematography.
This film was never released for the general public. It was hidden in Chaplin's private vaults for forty years until he included some parts of it in his compilation 'The Chaplin Revue' in 1959.
Jim "Lucky" Moore, an insurance salesman, comes up with a novel policy for his friend, Steve: a 'love insurance policy', that will pay out $1-million if Steve does not marry his fiancée, Cynthia. The upcoming marriage is jeopardized by Steve's ex-girlfriend, Mickey, and Cynthia's disapproving Aunt Kitty. The policy is underwritten by a nightclub owner, Roscoe, who sends two enforcers - Abbott and Costello - to ensure that the wedding occurs as planned.
There are some movies that are so bad they're good. And there are some movies that are so bad- that they're just bad...
The protagonist has no memory of her father. However, as she watches the films he made before she was born, in which several young girls appear, she begins to suspect if there had been nothing between her father and her. To forget her loneliness and stay afloat she keeps a diary. Men begin to irritate her, she is increasingly attracted to women and desperately seeks a mother, a friend, a lover.
The evolution of adult cinema through the most influential films in history, a journey that begins in the 1970s and ends nowadays. An in-depth analysis of the success of the most prestigious erotic films, their impact on industry and society, and their influence on cinema and contemporary culture.
After the sudden death of his wife, Tomás, a successful elderly writer who has been out of Spain during the last forty years, unexpectedly receives an old tarot card which seems to have for him a disturbing meaning, so he decides to return to the small village where he grew up.
A couple with a newborn child arrives at a big old house, the ideal place to start a real family life. Before going to bed, the couple checks the operation of the listening device installed in their baby's room, whom they can listen to and watch. They soon discover that there is someone else in the house who sits next to the baby's crib every night.
Mario and his pregnant girlfriend Clara are trying to find a new apartment to live as soon as possible, so they go to visit a flat placed in a far neighborhood which seems abandoned. Once there, things are not as they expected.
A look at the different masculinities portrayed in Spanish cinema through time. (A sequel to “Barefoot in the Kitchen,” 2013.)
During Christmas 1985, five friends who live in Cubelles, a summer town on the Costa Daurada, in Tarragona, make an unexpected discovery in the woods: a woman disguised as Santa Claus who has fallen into a hole dug in the middle of nowhere.
Estrella, an intelligent teen student, spends most of her time alone at school or home, enjoying horror books and movies, while her widow mother Angela works as a nurse in a hospital. Her favorite author is Stephen King and her only friends are Leatherface and a vampire.
The New Scooby-Doo Movies is the second incarnation of the Hanna-Barbera Saturday morning cartoon Scooby-Doo, Where Are You!. It premiered on September 9, 1972 and ran for two seasons on CBS as the only hour-long Scooby-Doo series. Twenty-four episodes were ultimately produced. Aside from doubling the length of each episode, The New Scooby-Doo Movies differed from its predecessor in the addition of a rotating special guest star slot; each episode featured real-life celebrities or well known fictional characters joining the Mystery, Inc. gang in solving the mystery of the week. Some episodes, in particular the episodes guest-starring the characters from The Addams Family, Batman, and Jeannie, deviated from the established Scooby-Doo format of presenting criminals masquerading as supernatural beings by introducing real ghosts, witches, monsters, and other such characters into the plots. The New Scooby-Doo Movies was the last incarnation of Scooby-Doo to feature Nicole Jaffe as the regular voice of Velma Dinkley, due to her marriage and retirement from acting.