Esperanza Alonso

In the mid-fifties, El Nini lives in the poorest and most forgotten rural Castile (Spain). He is a child with no more knowledge than those provided by nature. El Nini lives with his father in a cave, and with him he devotes himself to the hunting of water rats, the only means of subsistence they know. But when they are tried to deprive them of their roof and their livelihood, violence will erupt uncontrollably.

In the aftermath of the Trojan Wars, Queen Hecuba takes stock of the defeated kingdom. Her son has been killed, and his widow, Andromache, is left to raise their son, Astyanax, alone. Hecuba's daughter, Cassandra, fears being enslaved by her Greek masters, while Helen of Troy risks being executed. Astyanax also becomes the focus of the Greeks' attention as the last male heir of the Trojan royal family.

This 1985 Spanish film reveals one of the many terrible aspects of 16th century Spain, still plagued by the radical Christian Inquisition, one of a plethora of difficulties Spaniards faced at the time. Spanish super star Carmen Maura plays a nun who agrees to a selfless scam, a fake stigmata, only to avoid separation from her lover, another nun. It's a serious and passionate work, highlighting the theme of outspoken women-against-repression, seen in other good gay and lesbian films. This is not a lesbian "Nun sense" or another "Dark Habits" (by Almodovar, which also starred Carmen Maura, and also set in a Spanish convent, with some lesbian nuns). Perhaps, best of all, 'Extramuros' is realistic and frank. It isn't shy about its characters' sexuality. Their sexuality, and the film as a whole are genuine.

Monica, a teenager who is attracted to her sister's boyfriend, suffers from seeing the love they both have for each other, which causes her a deep emotional crisis…

As in the novel of the same title from Camilo Jose Cela, "La Colmena" is a sad composition with the stories of many people in the Madrid of 1942, just the postwar of the spanish civil war. The main theme of the film is the contrast between the poets, surviving close to misery under the Franco's regime, and the winners of the war, the emerging class of the people that makes easy money with illegal business.