Enrique López Lavigne

An overview of the making of 28 Weeks Later (2007).

A comedic romp that celebrates the power of friendship to turn your life around, Dias de Futbol introduces us to Antonio, an ex-convict and amateur shrink who convinces his pals that the best way to overcome their midlife crises and lack of success with women is to reassemble their old soccer team and win something in life, even if only a local championship. Directed by David Serrano. Starring Alberto San Juan, Natalia Verbeke (Dot the I, Son of the Bride), Pere Ponce, and Fernando Tejero.

María ve Susana, iki isyankar genç yazlarını bir katolik kampına harcıyor. Ortak payda olarak müziğin genç isyanı ve kilise dizilişi çarpışacak ve özgürlük ve ilk aşka ilham kaynağı olacak.

Wafer factory-owner P. Tinto and his wife Olivia want a child of their own more than anything else in the world. Years of trying, however, have left them with nothing but a pair of extraterrestrial midgets living in the spare bedroom. When they decide to try adoption, a series of misroutings and chance encounters results in an escaped adult mental patient arriving at their door with adoption papers in hand. P. Tinto and Olivia accept this without question and welcome him in as their son. Can this family arrangement work?

A portrait of film critic Carlos Boyero, one of the most followed and feared figures in Spanish cinema, surrounded by controversy and both love and hate.

While driving on tour late night through a lonely road in the countryside of Spain, the van of the punk band "Killer Barbys" has an accident and breaks down. A creepy old man invites the group to spend the night in the castle of Countess Von Fledermaus and presents himself as her secretary Arkan. Arkan explains that the mechanic is located 62 km far from the location and he tells that the Countess loves youths. Flavia, Rafa and Mario accept the invitation but Billy and Sharon stay shagging in the van. When the musicians meet the Countess, they find that she is the ancient artist Olga Luchan and they question how she could keep so young. But sooner they discover that the Countess needs blood of young people to keep her beauty.

A walk through the golden age of Spanish exploitation cinema, from the sixties to the eighties; a low-budget cinema and great popular acceptance that exploited cinematographic fashions: westerns, horror movies, erotic comedies and thrillers about petty criminals.

Set deep in the chaos of the early 2000s, this series reimagines the life of pop icon Tamara — and her metamorphosis into Yurena — as never seen before.