This article discusses a number of the most significant Spanish films made in 2002, and attempts to deduce from them the guidelines apparently being followed by Spanish filmmakers at the dawn of the 21st century. Thus, productions such as Historia de un beso; El caballero Don Quijote; Los lunes al sol; Octavia or Alumbramiento come to reveal a kind of schizoid, nearly fratricidal panorama comprised, on the one hand, of those who have opted to join the ranks of representatives of official film discourse, with no ideology to speak of, and, on the other hand, those who prefer to blaze their own trails in a territory of abstract aesthetic and political dissidence.
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