6.7/10
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20 user 51 critic

Torremolinos 73 (2003)

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Set in 1973 Spain, a struggling encyclopedia salesman and his wife take advantage of an offer to make adult films. The act turns him into an aspring legit filmmaker and her into an international sex symbol.

Director:

Pablo Berger

Writer:

Pablo Berger
15 wins & 10 nominations. See more awards »

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Cast

Cast overview, first billed only:
Javier Cámara ... Alfredo / Husband
Candela Peña ... Carmen / Wife
Juan Diego ... Don Carlos
Fernando Tejero ... Juan Luis
Mads Mikkelsen ... Magnus
Malena Alterio ... Vanessa
Ramón Barea ... José Carlos Romerales
Tom Jacobsen Tom Jacobsen ... Erik
Mari-Anne Jespersen Mari-Anne Jespersen ... Frida
Bjarne Henriksen ... Lauritz
Nuria González Nuria González ... Señora de Romerales
Mariví Bilbao Mariví Bilbao ... Señora de Anasagasti
Germán Montaner Germán Montaner ... Sr. Anasagasti
Jaime Blanch ... Ginecólogo
Máximo Valverde Máximo Valverde ... Himself
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Storyline

Alfredo Lopez is a tired encyclopedia salesman, and Carmen is his faithful wife. The lives of this married couple change forever when the Montoya publishing house, in which Alfredo works, makes a proposal to them to make erotic films that will sold in the Scandinavian countries, under the guise of being a false encyclopedia about reproduction. Unknown to them both, Carmen has become an adult film star in the Northern countries, and a Danish crew flies in to help Alfredo make an Ingmar Bergman inspired feature film called "Torremolinos 73." Instead of a career in show business, Carmen is eager to have a baby, and the tension between the artist and his muse grows. Written by Sujit R. Varma

Plot Summary | Plot Synopsis

Genres:

Comedy | Drama

Certificate:

Unrated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Spain | Denmark

Language:

Spanish | Danish

Release Date:

30 April 2003 (Spain) See more »

Also Known As:

Büyük yönetmen See more »

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Box Office

Budget:

€2,400,000 (estimated)

Opening Weekend:

€218,623 (Spain), 4 May 2003, Limited Release

Opening Weekend USA:

$6,321, 17 April 2005, Limited Release

Gross USA:

$87,385, 25 September 2005
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Goofs

The type of Kodachrome cartridge we see cannot have existed at the time of action: only since the end of the 1990s did European Kodachrome cartridges have their serial number printed on the label with black ink, prior to that the serial number was dry-stamped on the label. See more »

Connections

Features The Seventh Seal (1957) See more »

Soundtracks

Mamy Blue
Music by Hubert Giraud
Lyrics by Hubert Giraud
Performed by Pop Tops
© Budde Music France SARL
Edición autorizada a Ediciones Musicales Clipper's S.L.
Courtesy of Fonomusic
See more »

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User Reviews

 
Softcore Porn for 'Camera Buff'
7 August 2006 | by avidadollarsSee all my reviews

When I first watched this film in 2005, I loved it, although at the time I was perhaps ready to agree that the second half of the film stumbles in a lot. But having recently seen 'Camera Buff' by Krzysztof Kieslowski, I am absolutely convinced 'Torremolinos 73' was inspired by it, in one way or another. This is not to deny originality to Berger's creation, but the acquaintance with the Polish film can seriously help understand and evaluate 'Torremolinos'. It can let us appreciate some details (compare, for instance, a cameo appearance of another Polish filmmaker, Zanussi, in 'Camera Buff' to the ever-powerful presence of Bergman's loudspeaker in 'Torremolinos'), but, most importantly, it allows to see, what exactly the subject of the film is. If our understanding is not informed by 'Camera Buff', then 'Torremolinos' is a vinaigrette of politics, porn and art-house cinema. If it is, then the main topic is exactly the one that makes the film somewhat 'heavy' in its second part and which was one of the central topics in Kieslowski's film. Cinema becomes a wedge, which is hammered between the routine and creativity. Aspiration to make 'serious' films and the cherishing of a film as one's child violently confronted the parental responsibilities of Kieslowski's protagonist, who gave in to creative impulses. The conflict in 'Torremolinos' is slightly reversed in that cinema becomes a more complex agent: it is the reason for misunderstanding, but it also unveils the problem and in the end even helps to resolve it. It is nevertheless the importance of the choice and its connection to various problems concerning family life that bring a kind of dullness into the second part of 'Torremolinos'. In this case it might be useful to agree with those who call this part 'subtler' in comparison to the upbeat start. In particular, this second part contains an easily-unnoticed topic of how much insult the male pride can take, and whether or not it is worth being guarded when love is at stake.


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