José Antonio Romero

The queue is a visual poem. A reflection of this society, increasingly lacking in solidarity. It can be the unemployment line, the hunger line, the line of the sick, the retired, women, migrants. We are all standing before that door, always closed to those who have nothing and wait in vain for the Leviathan that is the State to let them in and become part of a society that casts them aside like outcasts.

Anonymous lives… Real lives… Lives that deserve to be told.

Documentary about the figure of Práxedes Mateo Sagasta on the occasion of the centenary of his death.

The old Spanish filmmaker Luis Buñuel (1900-83) imagines a movie plot, set in Toledo in the future 2002, about the fantastic adventure of three actors, who play him and his friends, the painter Salvador Dalí (1904-89) and the poet Federico García Lorca (1898-1936), and their search for King Solomon's table, a mythical artifact capable of revealing the past, present and future.

Filmed over the course of 2013 to 2019, it is a photograph of the scars left by the Great Recession in Spain. Who are the losers of this crisis? Young people, women, workers between 35 and 45 who will never again be what they trained to be, those over 45 who have lost their jobs, retirees who see their purchasing power shrink, the “emotional proletariat”… and this film is about them.

When a man of identical appearance to him is killed in the street, scientist Diego Durand realises that the flashes of déjà vu that torment him are part of a sinister secret past that he must uncover.

The queue is a visual poem. A reflection of this society, increasingly lacking in solidarity. It can be the unemployment line, the hunger line, the line of the sick, the retired, women, migrants. We are all standing before that door, always closed to those who have nothing and wait in vain for the Leviathan that is the State to let them in and become part of a society that casts them aside like outcasts.

The queue is a visual poem. A reflection of this society, increasingly lacking in solidarity. It can be the unemployment line, the hunger line, the line of the sick, the retired, women, migrants. We are all standing before that door, always closed to those who have nothing and wait in vain for the Leviathan that is the State to let them in and become part of a society that casts them aside like outcasts.

The queue is a visual poem. A reflection of this society, increasingly lacking in solidarity. It can be the unemployment line, the hunger line, the line of the sick, the retired, women, migrants. We are all standing before that door, always closed to those who have nothing and wait in vain for the Leviathan that is the State to let them in and become part of a society that casts them aside like outcasts.

Anonymous lives… Real lives… Lives that deserve to be told.

Anonymous lives… Real lives… Lives that deserve to be told.

Anonymous lives… Real lives… Lives that deserve to be told.

Documentary about the figure of Práxedes Mateo Sagasta on the occasion of the centenary of his death.

The old Spanish filmmaker Luis Buñuel (1900-83) imagines a movie plot, set in Toledo in the future 2002, about the fantastic adventure of three actors, who play him and his friends, the painter Salvador Dalí (1904-89) and the poet Federico García Lorca (1898-1936), and their search for King Solomon's table, a mythical artifact capable of revealing the past, present and future.

Filmed over the course of 2013 to 2019, it is a photograph of the scars left by the Great Recession in Spain. Who are the losers of this crisis? Young people, women, workers between 35 and 45 who will never again be what they trained to be, those over 45 who have lost their jobs, retirees who see their purchasing power shrink, the “emotional proletariat”… and this film is about them.

Filmed over the course of 2013 to 2019, it is a photograph of the scars left by the Great Recession in Spain. Who are the losers of this crisis? Young people, women, workers between 35 and 45 who will never again be what they trained to be, those over 45 who have lost their jobs, retirees who see their purchasing power shrink, the “emotional proletariat”… and this film is about them.

Filmed over the course of 2013 to 2019, it is a photograph of the scars left by the Great Recession in Spain. Who are the losers of this crisis? Young people, women, workers between 35 and 45 who will never again be what they trained to be, those over 45 who have lost their jobs, retirees who see their purchasing power shrink, the “emotional proletariat”… and this film is about them.

When a man of identical appearance to him is killed in the street, scientist Diego Durand realises that the flashes of déjà vu that torment him are part of a sinister secret past that he must uncover.

Lola is a young gypsy of uncertain origin who was adopted, as a newborn, by a family among whom she has grown up with gypsy customs and traditions. When the young woman finishes high school, she considers, against her family and her social environment, to continue her studies and pursue a teaching career. At that moment of his adolescent life, love appears when he meets Juan, a gypsy of his age.