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Demonios en el jardín (1982)

Juan is the handsome, irresponsible, best-loved second son. When his older brother, who runs the family's black-market business with their steel-willed mother, marries Juan's lover Ana, ... See full summary »
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Cast overview:
Eusebio Lázaro ...
Álvaro Sánchez Prieto ...
Traveling Salesman
Rafael Díaz ...
Pedro del Río ...
Eduardo MacGregor ...
Luis Lemus ...
Paco Catalá ...
Vendedor ambulante
Pedro Basanta ...
Amparo Climent ...
Jorge Roelas ...
Tono (as Jorge Luis Roelas)


Juan is the handsome, irresponsible, best-loved second son. When his older brother, who runs the family's black-market business with their steel-willed mother, marries Juan's lover Ana, Juan heads for Madrid to work for Franco. Juan also leaves behind his impoverished cousin, Ángela, pregnant with his son. Jump ten years. Juanito, the lad, has rheumatic fever. The doctor says to pamper the boy. Ángela, Ana, and his grandmother comply. As Juanito recovers, his father returns in desperate need of cash; Juanito witnesses a theft blamed on his innocent mother. Things come to a head at a saint's-name party for father and son. Jealousies, betrayals, and a bullet converge. Written by <jhailey@hotmail.com>

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sex | female nudity | See All (2) »




R | See all certifications »




Release Date:

18 October 1982 (Spain)  »

Also Known As:

Demons in the Garden  »

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Aspect Ratio:

1.66 : 1
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Features Anna (1951) See more »

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User Reviews

A twisted film noir that captures life in post-war, Franco's ruled Spain.
5 March 2003 | by (South Carolina, United States) – See all my reviews

The film recaptures life in rural Spain during the first years of Franco's dictatorship, around 1942. It represents the difficult relations between those victorious and those who have been vanquished. Furthermore, the movie unveils the black-market economy prevalent during the first decade of the regime, and how the Right-Wing ideologists control the underground economy. They also maintain a repressive society enforcing a set of strict, Catholic morals that they themselves do not practice. Gutiérrez uncovers their hypocrisy and double moral standards through the watchful eyes of the boy-protagonist. Gutiérrez also defeats those values by having the two female protagonists unite and expose the archaic macho culture as repressive and immoral. Juanito, the hope for a tolerant Spain, in the end ascribes a role of power to Angela and Ana. Juan, his father, a devastated Casanova, loses their respect bt trapping himself in gambling and womanizing, and becomes an outlaw. To fully understand this film the viewer must know early Twentieth-Century Spanish history and the two fighting factions in the Spanish Civil War (1936-1939). In this way one can understand Gutiérrez's ironical treatment of post-war relations and how he compels a divided society to look forward to a desired unity.

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