The gray and monotonous life of Abel takes place between a small family shop selling unisex clothes, his dates with his girlfriend Tere, his mother's house, a friend's kiosk and the ... See full summary »
María Antonia Martínez
Natalia and Carlos, both aged 20, are in love and struggling to survive in today's Spain. Their limited resources prevent them from getting ahead as they'd like to. They have no great ... See full summary »
Ingrid García Jonsson,
The identity of Petra's father has been hidden from her all her life. When her mother dies, Petra embarks on a quest which leads to Jaume, a celebrated artist and a powerful, ruthless man. ... See full summary »
Laura, a Spanish woman living in Buenos Aires, returns to her hometown outside Madrid with her two children to attend her sister's wedding. However, the trip is upset by unexpected events that bring secrets into the open.
Manu Aranguren is the contact person from the Spanish government in the negotiations with terrorist group ETA. But the dialog is influenced by errors and chance, leaving the personal relationships of the negotiators as key to its outcome.
Palencia (Spain). Little Martin gets pooped every day at school, which is making his life bitter. He feels embarrassed for his parents, Gema and Toribio, two lovers who always smile as if ... See full summary »
José Luis Lago,
Hélène is unhappy with her marriage but finds some comfort and relief with Paul, a young art student. They reflect on their differences of age, backgrounds and also what truly connects them... See full summary »
Already in production when Rosales got several Goya awards for the outstanding "La soledad", "Tiro en la cabeza" echoes another experiment made by Alan Clarke in the late 1980s called "Elephant". It is a cold, austere work that doesn't allow the viewer to feel for or identify with the characters for most of its duration. Rosales makes sure of this by using an almost surveillance-like camera-work. It all feels very distant. Sound-wise, the Spanish filmmaker keep us away from the dialogue too; politically mistreated and overexploited feature in the Basque conflict that, although present in the film, we don't have access to. The general decontextualization and the suppression of the ideological element in the film help to accentuate the absurdity in the final events. Overall, an imperfect but much needed both exploration of the possibilities of cinema and view on the Basque conflict.
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