Víctor Matellano

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A vindication of the role of the technicians and artists who made spaghetti western genre possible, and a walk through the landscapes that made it possible to recreate in Spain, mainly in the desert of Almería, hundreds of adventures set in the remote American Far West.

King of Horror, legendary actor, scriptwriter and director, Paul Naschy is regarded as the Spanish Lon Chaney and the most prolific filmmaker dedicated to the fantastic cinema in Spain.

An account, in his own words and those of his relatives, of the life and work of the brilliant Manuel Pérez-Sanjulián Clemente, one of the most important Spanish illustrators of all times.

A journey through the work of Spanish filmmaker Juan Piquer Simón (1935-2011).

First-person testimony of the life and work of one of the most important and prolific supporting actors in our country. The last legacy of one of the actors who most loved his profession and for which he continued working until his last days.

Andersen visits the English Cemetery of Málaga, fantasizing about the possibility that the great Danish writer found there his mermaid

Andersen visits the English Cemetery of Málaga, fantasizing about the possibility that the great Danish writer found there his mermaid

Victor Matellano directs this tale set in a stately English manor inhabited by two older female vampires and with their only cohabitant being a man imprisoned in the basement. Their lives and lifestyle are upended when a trio of campers come upon their lair and seek to uncover their dark secrets, a decision that has sexual and blood-curdling consequences.

Victor Matellano directs this tale set in a stately English manor inhabited by two older female vampires and with their only cohabitant being a man imprisoned in the basement. Their lives and lifestyle are upended when a trio of campers come upon their lair and seek to uncover their dark secrets, a decision that has sexual and blood-curdling consequences.

In a stagecoach stop far away in the Wild West the unexpected arrival of a man called "Colonel" will change all of the passengers' peaceful lives. He begins a macabre game, solely asking for one thing - to abide by his law and wait. But the night is long and the vultures perceive the smell of death that the stagecoach stop emits.

In a stagecoach stop far away in the Wild West the unexpected arrival of a man called "Colonel" will change all of the passengers' peaceful lives. He begins a macabre game, solely asking for one thing - to abide by his law and wait. But the night is long and the vultures perceive the smell of death that the stagecoach stop emits.

In the late sixties, Spanish cinema began to produce a huge amount of horror genre films: international markets were opened, the production was continuous, a small star-system was created, as well as a solid group of specialized directors. Although foreign trends were imitated, Spanish horror offered a particular approach to sex, blood and violence. It was an extremely unusual artistic movement in Franco's Spain.

In the late sixties, Spanish cinema began to produce a huge amount of horror genre films: international markets were opened, the production was continuous, a small star-system was created, as well as a solid group of specialized directors. Although foreign trends were imitated, Spanish horror offered a particular approach to sex, blood and violence. It was an extremely unusual artistic movement in Franco's Spain.

A young journalist has to spend a night in Barcelona's Wax Museum to investigate paranormal activities. He has no idea Dr. Knox, an insane cannibal surgeon, hides in the museum at night.

A young journalist has to spend a night in Barcelona's Wax Museum to investigate paranormal activities. He has no idea Dr. Knox, an insane cannibal surgeon, hides in the museum at night.

There was a time when the Italian film industry copied American models and reaped huge profits. In 1981, a transalpine production company dared to make an exploitation version of Jaws and Jaws 2, while Universal was preparing the third official installment. The Last Shark was successfully released in several countries with the title Jaws 3 or The Last Jaws, making a huge impact, but in the United States it instantly got sued, sparking an epic conflict between Jaws.

There was a time when the Italian film industry copied American models and reaped huge profits. In 1981, a transalpine production company dared to make an exploitation version of Jaws and Jaws 2, while Universal was preparing the third official installment. The Last Shark was successfully released in several countries with the title Jaws 3 or The Last Jaws, making a huge impact, but in the United States it instantly got sued, sparking an epic conflict between Jaws.

A sinister gravedigger recounts some of his favourite tales of love gone awry in horrific fashion, from an anniversary celebration on a ghost train, to a deeply unsettling romantic getaway, to attempts to keep a loved one safe during a virulent pandemic.

A sinister gravedigger recounts some of his favourite tales of love gone awry in horrific fashion, from an anniversary celebration on a ghost train, to a deeply unsettling romantic getaway, to attempts to keep a loved one safe during a virulent pandemic.

Forty years later, Guillermo Montesinos, the actor who played José María el Cepa in The Cuenca Crime (1980), directed by Pilar Miró, returns to the various locations where the shooting of the mythical film, narrating the infamous Grimaldos case (1910), took place.

Forty years later, Guillermo Montesinos, the actor who played José María el Cepa in The Cuenca Crime (1980), directed by Pilar Miró, returns to the various locations where the shooting of the mythical film, narrating the infamous Grimaldos case (1910), took place.

Forty years later, Guillermo Montesinos, the actor who played José María el Cepa in The Cuenca Crime (1980), directed by Pilar Miró, returns to the various locations where the shooting of the mythical film, narrating the infamous Grimaldos case (1910), took place.

With humor, prolific director Víctor Matellano tells the story of one of the most iconic and problematic cult films of Spain's "fantaterror": Los resucitados by Arturo de Bobadilla. A story of ambition, frustration and the everlasting will of the most passionate cinephiles.

With humor, prolific director Víctor Matellano tells the story of one of the most iconic and problematic cult films of Spain's "fantaterror": Los resucitados by Arturo de Bobadilla. A story of ambition, frustration and the everlasting will of the most passionate cinephiles.

With humor, prolific director Víctor Matellano tells the story of one of the most iconic and problematic cult films of Spain's "fantaterror": Los resucitados by Arturo de Bobadilla. A story of ambition, frustration and the everlasting will of the most passionate cinephiles.

August 1991. Filmmaker Jacinto Molina, better known as Paul Naschy, is suffering a heart attack. While he is being taken to the operating room, all his memories pass through his mind like a film. Good and bad times come to mind, and a film in which he poured his likes and dislikes, "El aullido del lobo (Howl of the Devil)". And all the memories of his childhood that left their mark on his films, a clear symbol of authorship. Meanwhile, like a dream, a child is chased by a wolf in the forest...

August 1991. Filmmaker Jacinto Molina, better known as Paul Naschy, is suffering a heart attack. While he is being taken to the operating room, all his memories pass through his mind like a film. Good and bad times come to mind, and a film in which he poured his likes and dislikes, "El aullido del lobo (Howl of the Devil)". And all the memories of his childhood that left their mark on his films, a clear symbol of authorship. Meanwhile, like a dream, a child is chased by a wolf in the forest...

Three researchers work on a paleontological project focusing on two dinosaurs: one fictional, the one created by special effects genius Ray Harryhausen for the film The Valley of Gwangi (1969); the other real, the Concavenator corcovatus, whose remains were discovered in 2003 at the Las Hoyas site, in the province of Cuenca (Spain), very close to where the filming took place.

Three researchers work on a paleontological project focusing on two dinosaurs: one fictional, the one created by special effects genius Ray Harryhausen for the film The Valley of Gwangi (1969); the other real, the Concavenator corcovatus, whose remains were discovered in 2003 at the Las Hoyas site, in the province of Cuenca (Spain), very close to where the filming took place.