In 1975 Spain, a young girl named Laura is given up for adoption. Years later, adult Laura (Rueda) returns to the closed orphanage, accompanied by her husband, Carlos (Cayo), and their seven-year-old adopted son, Simón (Príncep). She plans to reopen the orphanage as a facility for disabled children. Simón claims to see a boy named Tomás (Óscar Casas). He befriends Tomás and draws pictures of him as a child wearing a sack mask. Social worker Benigna Escobedo (Montserrat Carulla) informs Laura that Simón's adoption file indicates that Simón is HIV positive. Incensed at Benigna's intrusion, Laura asks her to leave. She later finds Benigna in the orphanage's coal shed, but Benigna flees the scene. Later, Simón teaches Laura a game which grants its winner a wish. Clues lead the two to Simón's adoption file. Simón becomes angry, and says that his new friend told him that Laura is not his biological mother and that he is going to die soon.
Tristana is an orphan adopted by nobleman don Lope Garrido. Don Lope falls in love with her and thus treats her as daughter and wife from the age of 19. But, by age 21 Tristana starts finding her voice, to demand to study music, art and other subjects with which she wishes to become independent. She meets the young artist Horacio Díaz, falls in love, and eventually leaves Toledo to live with him. When she falls ill, she returns to don Lope. The illness results in her losing a leg, which changes her prospects; here, the film substantially varies from the novel.
Ángela Vidal (Manuela Velasco), and her cameraman, Pablo, are covering the night shift in one of Barcelona's local fire stations for the documentary television series While You're Sleeping. While they are recording, the firehouse receives a call about an old woman, Mrs. Izquierdo, who is trapped in her apartment and screaming. Ángela and Pablo accompany two of the firefighters, Álex and Manu, to the apartment building, where two police officers are waiting. As they approach the old woman, she becomes aggressive and attacks one of the officers, biting his neck.
Pilar, a meek housewife living in Toledo, gathers a few belongings one night and flees her apartment with her seven-year-old son Juan. They find shelter with Pilar's sister, Ana, who is soon to marry her Scottish live-in boyfriend. Pilar's husband, Antonio, tries to make her change her mind, but she is tired and fearful of his abusive behavior. Determined to start a new life on her own, Pilar sends her sister to retrieve her belongings from the apartment she shared with her estranged husband. Once there, Ana discovers through medical bills that her sister has also been physically abused by Antonio. When he arrives, they have a confrontation.
Taciturn, partially deaf Hanna (Polley) is a Yugoslavian native working in a factory in Northern Ireland. She is forced to take a vacation by her boss, who tells her that her co-workers have been offended by her lack of socializing. After overhearing a conversation about a need for a nurse, she takes on a job as private nurse for burn victim Josef (Robbins). He is bedridden on an offshore oil rig after a fire on the rig, and has severe burns and is temporarily blinded. The rig is not operational awaiting an investigation, and few people remain on board.
Mexican filmmaker Sebastián (Gael García Bernal) and his executive producer Costa (Luis Tosar) arrive in Cochabamba, Bolivia, accompanied by a cast and crew, prepared to create a film depicting Columbus's first voyage to the New World, the imposition of Columbus’ will upon the natives, and the subsequent indigenous rebellion. Cognizant of his limited budget, producer Costa elects to film in Bolivia, the poorest country in South America. There, impoverished locals are thrilled to earn just two dollars a day as extras in the film, and willingly engage in physical labor for set preparation. Costa saves many thousands of dollars by having underpaid extras perform tasks meant to be completed by experienced engineers.
Il s'agit d'un film choral à l'humour absurde dont le scénario est teinté de surréalisme. Les situations alternent entre le naïf et le grotesque. L'action se situe dans un village près d'Albacete.
Un groupe de danseurs de flamenco met en scène une version très hispanisée de l'œuvre de Prosper Mérimée. Durant les préparations et l'exécution de l'œuvre, Antonio, le chorégraphe, tombe amoureux de Carmen qui en est la danseuse principale. L'œuvre dansée et la vie réelle commencent alors à se mêler.
Ann (Sarah Polley) is a hard-working 23-year-old mother with two small daughters, an unemployed husband (Scott Speedman), a mother (Deborah Harry) who sees her life as a failure, and a jailed father whom she has not seen in ten years. Her life changes dramatically when, during a medical checkup following a collapse, she is diagnosed with metastatic ovarian cancer and told she has only two months to live. Deciding not to tell anyone of her condition, using the cover of anemia, Ann makes a list of things to do before she dies. She decides to change her hair, record birthday messages for the girls for every year until they're 18, and tries to set up her husband with another woman. Feeling a longing to experience a life that was never available to her, she seeks out a man to experience how it feels to be in a sexual relationship with someone other than her husband. Her experiment ends up taking an emotional toll when she meets with a man named Lee, who ends up madly in love with her and is left heartbroken when Ann breaks up. He meets with her one last time and says that he will do anything to make her happy, taking care of her daughters and even finding her husband a job. She ends their relationship and never tells him that she is dying. At the end of the film Ann records a message to her husband telling him that she loves him and another one to Lee telling him the same. She then leaves all tapes she has recorded with her doctor asking him to deliver them after her death.
Fernando Galindo, a bank clerk, persuades his colleagues to rob the bank where they work in revenge for manager's dismissal and poor employment conditions. They decide to fake a robbery similar to those featured in films. Despite their careful preparation, the plan fails because a band of real robbers burst into the bank the same day they had planned to carry out their raid.
Luis, an unmarried, middle-aged, Barcelona businessman, carries out his mother’s dying wish to be buried in the family crypt in Segovia. He has her bones exhumed from a pantheon in Barcelona and heads by car to the Castilian city. In the middle of a lonely road, he stops and gets out of the car, recalling the same landscape at a moment in his childhood when he was being brought up to spend part of his summer vacation with his maternal grandmother in Segovia during the fateful summer of 1936. He sees his parents before him, trying to soothe him after a bout of carsickness. Just days before they were to pick him up, a military uprising cut Segovia off from the Republican part of Spain and Luis found himself trapped in the menacing environment of his mother’s Nationalist relatives for the duration of the war.
Flamenco is a documentary that includes performances from some of the best flamenco singers, dancers and guitarists. Helped by cinematography by Vittorio Storaro, director Carlos Saura brings with this film the "Light of Flamenco to the World".
Ángel, a soft spoken withdrawn man, lives an isolated life in a rustic farmhouse in the woodlands around Segovia. His only company is his brash, domineering mother, Martina. Ángel is an "alimañero", a hunter in charge of killing wolves and other animals of prey in order to protect deer in a hunting wild reserve. To survive, he resorts to furtive deception of the local civil guards hunting the wild game and selling the meat and skins for profit. During the autumn hunting season, the local Governor comes to hunt stag with his entourage taking base at Ángel's rustic house. The Governor has special affection towards Martina, who was his wet nurse.