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This section aims to enlighten some areas of our cinematographic past, unknown areas but full of value. It thus aims to recognise how important our cinematographic tradition is. It will be about little known films which, for the first time in many decades, are getting the place they deserve.

This second section, whose theme is “Fictional Biographies”, shows how during the 1940s the new regime tried to create a tradition in which the great names of Spanish history acted as legitimators. But some filmmakers took advantage of this situation to show different biographies, replacing soldiers and kings for musicians, substituting pomp for resistance and epic for a persistent doubt about which path to take. All this was always masked by music, making people believe that popular cinema was only about entertainment when it actually showed other possible realities. The presentation of these films will also be accompanied by a musical performance that brings the proposal up to date.

Section conducted by Luis E. Parés.

Friday 14 March
12h. Teatro Echegaray

Screening:
Serenata española (Juan de Orduña, Spain, 1947)
TICKETS

WRITING Juan de Orduña, Eduardo Marquina
CINEMATOGRAPHY Willy Goldberger
MUSIC Manuel Quiroga
CAST Julio Peña, Juanita Reina, Antonio Vico

Albéniz's biography serves as a pretext to show the society of the early 20th century, where popular culture and high culture mingled in all spaces, in an enriching mixture that shaped the silver age of our music.

Performance:
Alfredo Lagos. Mediterranean flamenco
Isaac Albéniz's music is fresh and slow, and at the same time Mediterranean and universal. And it is flamenco too.
The guitarist Alfredo Lagos gives us a review of his Catalan, Andalusian and Spanish feelings in a singular and unique concert, including some of his most famous pieces, from Suite Iberia. He mixes flamenco with the Spanish classical music of one of the most important musical geniuses of the late 19th century.

Saturday 15 March
12h. Teatro Echegaray

Screening:
Esta es mi vida (Román Viñoly Barreto, Argentina, 1952)
TICKETS

WRITING Carlos A. Petit
CINEMATOGRAPHY Alberto Etchebehere
MUSIC Francisco Balaguer
CAST Miguel de Molina, Diana Maggi

After the violence and threats that forced him to leave Spain, Miguel de Molina arrives in Argentina, where he becomes a star. And there, he decides to rearrange all his memories and turn Spain into the setting of a theatre where everything is possible, where you can let go of all your fantasies, where nothing is forbidden. And where he continues to shine above everything else.

Performance:
Laura Ortiz. Miguel de Molina: Una luz que no se apaga.
The actress Laura Ortiz, the pianist and composer Carmen Vidal and the dancer Sergio Maqueda “El Turrano”, will bring us closer to the great artist Miguel de Molina, an indisputable figure of Spanish culture, through some of his most emblematic creations, his poems and the anecdotes that have shaped a legend with a unique personality. Miguel de Molina is, without a doubt, a light that never went out no matter how hard they tried.

Director, screenwriter and actress: Laura Ortiz
Music by: Carmen Vidal
Dancing: Sergio Maqueda “El Turrano”

Sunday 16 March
12h. Teatro Echegaray

Screening:
Embrujo (Carlos Serrano de Osma, Spain, 1947)
TICKETS

WRITING Carlos Serrano de Osma. Pedro lazaga
CINEMATOGRAPHY Salvador Torres Garriga
MUSIC Jesús García Leoz
CAST Lola Flores, Manolo Caracol, Fernando Fernán Gómez

A classic of Spanish cinema that is in tune with the flamenco imaginary that the regime was trying to outlaw: taverns, alcohol and loss, all with visual resources close to the avant-garde. And above all, a couple who were on the rise in those years, Lola Flores and Manolo Caracol, who seem to foretell the booms and busts they would suffer from then on, always at the mercy of popular tastes.

Performance:
Manolo Supertamp and Manolo Aragón. "Se rueda... ¿o qué?"
The Manolo Supertramp Company is preparing to film the essence of “Embrujo” live, a special filming in which the audience will have to be open to everything that might happen when the Lola Flores of our time enters the scene.