FliOlé compiles 80 great first works of Spanish cinema


FlixOlé gather the first films that kicked off the careers of some of the most important filmmakers in the history of Spanish cinema in a collection composed of more than 80 titles. ‘That happy couple’ by Luis Garcia Berlanga and Juan Antonio Bardem, ‘The spirit of the hive’ by Víctor Erice, ‘The fakers’ by Mario Camus, ‘mutant action’ by Alex de la Iglesia, ‘Too old to die young’ by Isabel Coixet o’Thesis’ by Alejandro Amenábar are just some of the films that make up this special that will be available starting this Friday, September 9 on the streaming service.

This extensive review carried out by the leading platform of Spanish cinema focused on the trance of debut, the luck of overcoming the vertigo of getting behind the camera for the first time, includes the premiere of four feature films that arrive on the streaming service: ‘The fakers’, ‘mutant action’, ‘The Warrior’s Heart’ Y ‘I have a house’.

‘Mutant action’ (1993), the unspeakable tape with which a then unknown Alex de la Iglesia was presented to the cinephile community, it is full of excesses and nods to ‘Star Wars’, ‘Alien’, ‘Mad Max’ and other elements of the freaky universe that nurtured a young filmmaker passionate about comics and role-playing games. Science fiction and traditional humor were the protagonists of the confrontation between a group of deformed people led by Ramón Yarritu (Anthony Resines) and the handsome posh people who marginalize them. A breath of fresh air within the Spanish film scene, the rhythm of Def with Dos en a film awarded with three Goya awards.

It was the production company of the brothers Pedro and Agustín Almodóvar, El Deseo, that produced the film by the Bilbao director. The same one that years later supported the filming of the directorial debut of Monica Laguna with ‘I have a house’ (nineteen ninety six). A film with rock touches, the title was inspired by a theme from Los Enemigos, centered on the feelings of its four protagonists (including Ernesto Alterio and Silke) inside a cabin in the middle of the forest.

FlixOlé’s ‘Opera Primas’ collection also includes the premiere on the platform of ‘The fakers’ (1963), the debut of the legendary mario camus. Starting from a narration by Diego Sueiro, Camus reflected the hardships of the time through the challenges that a group of comedians from the league must overcome.

The quartet of premieres of the cycle closes it Daniel Monzon with ‘The Warrior’s Heart’ (1999), a tape with which he obtained a Goya nomination in the category of best new direction. A kind of parody and homage to the genre of swords and witches, a theme somewhat different from the filmic paths that Monzón would experiment with in later films, starring Fernando Ramallo, Neus Asensi, Joel Joan and Santiago Segura.


In addition, among the titles reviewed in the special ‘Operas prima’ by FlixOlé are authentic masterpieces such as ‘Aunt Tula’ (Miguel Picazo, 1964), the most representative piece of the so-called New Spanish Cinema; ‘The spirit of the hive’ (Victor Erice, 1973); Montxo Armendáriz’s debut with ‘Tasio’ (1984); the laureate ‘No one will speak of us when we are dead’ (1995) by Agustin Diaz Yanes o’Thesis’ (1996), Alejandro Amenábar’s ‘vendetta’ to his faculty professor with which he won a whopping seven Goya awards.

Other debutants who reached a high level in their debut were Luis García Berlanga and Juan A. Bardem with ‘That happy couple’ (1953); Oscar winner José Luis Garci with ‘Pending subject’ (1977); Juanma Bajo Ulloa with ‘Butterfly Wings’ (1991); Santiago Amodeo with ‘Astronauts’ (2003); or filmmakers who broke the glass ceiling with notable titles like ‘The petition’ (Pilar Miró, 1976), ‘Too old to die young’ (Isabel Coixet, 1989) and ‘A way station’ (Grace Querejeta, 1992).

There is also space for those debut works that became cult works over time, such as ‘One, two, three… To the English hideout’ (Ivan Zulueta, 1970), ‘Bilbao’ (Bigas Luna, 1978) and the hilarious ‘The miracle of P. Tinto’ (Javier Fesser, 1998)

The special also includes films that already clearly pointed out the line that would be followed by the subsequent filmography of their authors, such as ‘Half past two… Poison’ (Mariano Ozores, 1959) and ‘revenants’ (Paco Cabezas, 2007) and also of those first works that subsequently became dissonant notes within the trajectory of their authors, such as ‘The Island Man’ (Vicente Escriva, 1960), ‘Evens and odds’ (José Luis Cuerda, 1982) or ‘Your girlfriend is crazy’ (Enrique Urbizu, 1988). The review also includes the occasional incursions of some actors who tried their luck behind the cameras, such as Imanol Arias in ‘A private matter’ (1996), Jordi Molla in ‘We are nobody’ (2002) and Jesus Bonilla with ‘Moscow gold’ (2003).

FliOlé compiles 80 great first works of Spanish cinema