Carmen de la Casa

As in the novel of the same title from Camilo Jose Cela, "La Colmena" is a sad composition with the stories of many people in the Madrid of 1942, just the postwar of the spanish civil war. The main theme of the film is the contrast between the poets, surviving close to misery under the Franco's regime, and the winners of the war, the emerging class of the people that makes easy money with illegal business.

A confirmed bachelor, over his sixties, is finally decided to marry, with the primary objective of having a son to inherit his business of coaches for tourists. Held the wedding, descendants don't arrive, but what comes into the house of the protagonist is an 18-year-old daughter of a distant childhood sweetheart willing to impose other points of view about everything.

A hit man working for the Yakuza double crosses his employers and flees with a cache of diamonds from the latest heist. Injured and hiding in the mountain regions of Spain, with Japanese assassins in hot pursuit, he takes refuge in the home of a local doctor and his two daughters who nurse him back to health and hide him from his pursuers, taking drastic and murderous measures to protect him... for they have plans of their own in store for their current guest.

Medieval erotic comedy in which a young man, played by Manolo Otero, comes to a town where he pretends to be tooth-puller and physician. This man is able to invent any potion to quench the sexual thirst of locals.

A couple of English tourists arrive at the island of Almanzora, off the Spanish Mediterranean coast, where they discover that there are no adults in a small fishing village, only some children who stare at them and smile mysteriously.

A rich emigrant returns to Madrid where he meets the beautiful Amparo . The girl, however, lives a secret affair with a priest

Antoñito is a bachelor who works in a cabaret as a clarinetist. He has put an advertisement in the newspaper, looking for a good and honest girl, and to which responds Rocío, who escapes from her native Córdoba to hide the embarrassment of her pregnancy. The coexistence with the naive clarinetist, who refuses the insinuations of a co-worker dedicated to prostitution, who idolizes his deceased mother and keeps as a relic the orthopedic leg of his late father, is not easy. The other men will tend their ties around Rocío, that makes way in the world of the spectacle pretending to be blind. When she can no longer conceal that she is pregnant, Antoñito decides to give his name to the fruit of sin.