Gonzalo García-Pelayo

Iván is a Spanish film producer who travels to Argentina with a single mission: to meet Carmen Trevilla, a cult director who is in the creative process of her new “video.” From minute zero, he feels captivated by her overwhelming and disconcerting presence. Although he still does not know if he is going to produce it – since he thinks that his cinema will not be well received by current European sensibilities – Iván takes advantage of every moment with Carmen to record, with his cell phone in his hand and an endless smile on his face, every adventure they embark on.

An unconventional cinematic work in which, through many narrative layers that intertwine, the director offers us a very particular view on a subject that is still taboo in society and arts.

A film director sets out on a road trip to scout locations for her next film. An admirer of Resnais and experimental cinema, she tries to create a story in which her own story is mixed with that of a singer with whom she had a relationship in the past.

After filming in Seville, García Pelayo and his team moved to Kazakhstan to shoot Ainur, a film about " love, moderna arquitectura, echoes and bicycles” (G. G. P. dixit). Víctor (Víctor Vázquez, El brau blau, La vida sublime), who lost the love of his life in an accident, Ainur, a young Kazakh, returns in search of his tracks to that country with his friend Pablo, secretly in love with Ainur, and his new girlfriend, Olivia, who prepares a documentary about the city, a mixture of tradition and avant-garde.

After filming in Seville, García Pelayo and his team moved to Kazakhstan to shoot Ainur, a film about " love, moderna arquitectura, echoes and bicycles” (G. G. P. dixit). Víctor (Víctor Vázquez, El brau blau, La vida sublime), who lost the love of his life in an accident, Ainur, a young Kazakh, returns in search of his tracks to that country with his friend Pablo, secretly in love with Ainur, and his new girlfriend, Olivia, who prepares a documentary about the city, a mixture of tradition and avant-garde.

In his time of greatest splendor, the singer Miguel 'Bambino' Vargas Jiménez (1940-99) was the last frontier of flamenco, an immense musical genre that he developed and brought closer to large audiences: an artist of artists, the idol of the roadside bars, whose inimitable style, scenic magnetism and heartbreaking personality made of his figure a myth, a king without a kingdom, a giant of the popular music of the 20th century.

"Nueve Sevillas" is a heterodox psycho-geographical profile of the new flamenco in Seville. Nine characters coexist with the great flamenco artists of today.

"Nueve Sevillas" is a heterodox psycho-geographical profile of the new flamenco in Seville. Nine characters coexist with the great flamenco artists of today.

Javier has heard of El Pelícano, an old industrial warehouse corralón in the center of Seville, in which a diverse group of artists, musicians, painters and craftsmen interrelate forming a free, fruitful and luminous community. In this "world apart" live peculiar characters such as El Canijo de Jerez, Pepe Ortega, Orlando, La Chocolata, Chipi, José Guapachá, Miriam y Rorro, Marta, Perpetuo, Jeri, Ana and many others, whom we will get to know in a Tour through the alleys of this popular space where Art looks for you and finds you.

Making-of of an explicit film in which the plot is intertwined and confused with what happens behind the scenes.

A journey through the different creative facets of Luis Eduardo Aute: singer and songwriter, painter, poet, filmmaker. Collaborators and friends tell the life of this total artist and reveal the impact his work has had in the past, has in the present and will have in the future.

The movie is a road movie where Triana's spirit is recalled across his friends, musicians, managers and admirers. The success of the band was mixing the magic of Rock Music with the deep musical roots of Andalusia. Gonzalo García-Pelayo,the director, and his brother Javier, friend, discoverer and manager of TRIANA, have created this cinematographic project with the intention of honoring the mythical band. Their original songs will be use used as background to represent the spirit of 40 years ago when freedom and music were an important way of life.

Lola and Luis are married until Manuel shows up and grabs Lola (and Trini, a florist friend and also a singer). This story of torn love will seem like the lyrics of a copla, the Spanish music genre to which both are dedicated, songs that border on love until death and that classically represent the absolute surrender of women to love. This love for Manuel divides the marriage and the friends.

Nacha, a secondary character in 'Copla', narrates the real interiorities of the Luis-Lola couple in their love crisis with the arrival of Manuel. The story unfolds differently from what happened in 'Copla', because Luis comes to the conclusion that he loves that Lola is loved by Manuel. Everything happens during the preparation and filming of 'Copla'.

Nacha, a secondary character in 'Copla', narrates the real interiorities of the Luis-Lola couple in their love crisis with the arrival of Manuel. The story unfolds differently from what happened in 'Copla', because Luis comes to the conclusion that he loves that Lola is loved by Manuel. Everything happens during the preparation and filming of 'Copla'.

A house, a family reunion that is celebrated on the occasion of an important event. Within this context, a group of girls play, dance, laugh, improvise, talk about the most varied topics, while freely enjoying the joy of living.

Two friends at the Cadiz Carnival, flesh party: a poker player and a singer-songwriter, in love with the same woman, Pepa, who is named after the first Spanish Constitution (performed by four different actresses to give a complete idea of the Cadiz woman) merge into the street joy of chirigoteros, flamingos and peculiar people of the city with fidelity to the uncertain as a flag (and with their three “carnival brides” and a boxer as a festive complement).

Two friends at the Cadiz Carnival, flesh party: a poker player and a singer-songwriter, in love with the same woman, Pepa, who is named after the first Spanish Constitution (performed by four different actresses to give a complete idea of the Cadiz woman) merge into the street joy of chirigoteros, flamingos and peculiar people of the city with fidelity to the uncertain as a flag (and with their three “carnival brides” and a boxer as a festive complement).

In this anthology film, a female actor cheats on her formerly famous husband, a married couple go to extremes, and an antiquarian falls for a young man.

Diptych with Rocío y José on the experience of El Rocío, Tres caminos al Rocío preserves the calm and contained gaze of that one. Continuing with that tension between the popular of Pasolini and the heroic of John Ford, as the critics of the time pointed out, it includes the winter pilgrimage along the roads of Seville, Sanlúcar de Barrameda and Huelva.

One of the oldest pilgrimages known to European Christianity is the pilgrimage to El Rocío, where prayers are said to the benevolent Blanca Paloma. Year after year, pilgrimage trains of more than a million believers set out to visit the small, remote andalusian village, which is normally inhabited by less than a thousand souls. In this film, the story of shy infatuation developing between two young people is little more than García Pelayo’s pretext to shooting this event in each and every detail. - Viennale

Miguel, who escaped from prison two months before finishing his sentence, thinks only of revenge and finding his beloved Diana.

A group of people, both men and women, get together to exchange their points of view, practical and theoretical, about sexual life and the relations between couples.

Miguel is in love with Rosa, a special woman. The relationship did not work at all and decide to break. Rosa then falls for a Sevillian painter who has returned after forty years of exile.

Miguel is in love with Rosa, a special woman. The relationship did not work at all and decide to break. Rosa then falls for a Sevillian painter who has returned after forty years of exile.

In Seville during the 1970s, Manuela, a furtive hunter’s daughter, marries the servant of rich Don Ramón, who is in love with her. With her natural beauty and sensuality, she attracts all sorts of passions, along with the conflicts that derive from them.

Super-8 shot by Gonzalo García-Pelayo with a series of concerts at the famous Dom Gonzalo nightclub, named after the “holy right to have fun” of Dómine Gonzalo de Berceo. The club will become a gathering place for the counterculture, but also for the ruling party to come, as marked by the presence of young Felipe González and Alfonso Guerra.