La cosa nuestra (2006)

Em 1872, o nobre inglês Phileas Fogg (David Niven) aposta vinte mil libras com seus colegas do Clube Reformatório de Londres de que ele consegue dar a volta no planeta em exatamente oitenta dias. Ao lado do engenhoso Valet Passepartout (Mario Moreno), ele busca cumprir o seu objetivo com aventuras em todos os continentes, acaba conhecendo e se encantando pela bela viúva Aouda (Shirley MacLaine), ao mesmo tempo que, em uma conspiração, é acusado de ter roubado o dinheiro que investiu na aposta.

Um policial de Copenhague, Dinamarca, busca justiça para o assassinato do seu parceiro, morto pelas mãos de um misterioso homem chamado Imran. Ele se junta com um colega da polícia e a amante do seu parceiro para caçar Imran, mas acabam envolvidos num jogo de gato e rato com um agente da CIA, que os leva da Escandinávia para a Espanha.

Benigno está apaixonado por Alicia, uma dançarina que observa do anonimato de seu apartamento. Depois de um acidente, ela é levada ao hospital onde Benigno trabalha como cuidador. Quando a toureira Lydia é levada para a mesma ala hospitalar, seu companheiro Marco cria um laço verdadeiro com Benigno.

Um toureiro é ferido por um touro e não pode mais matar na arena. É apenas uma falha, além de muitas outras de vários personagens que colidem de forma insuspeita.

As últimas 24 horas na vida de Geoffrey Firmin, um cônsul inglês solitário e deprimido que se retira ao álcool para se consolar. Em um cenário de guerra na Europa e na festa mexicana do Dia da Morte, somos levados em um dia na vida de Geoffrey Firmin, um cônsul britânico que vive em abandono e obscuridade alcoólica em uma pequena cidade do sul do México em 1939. O comportamento autodestrutivo do cônsul, talvez uma metáfora para uma civilização ameaçada, é uma fonte de perplexidade e tristeza para seu meio-irmão nômade idealista, Hugh, e sua ex-esposa, Yvonne, que retornaram com esperanças de curar Geoffrey e o casamento desfeito. (e 16 - Estimado 16 Anos)

O camponês analfabeto Juan Gallardo se eleva meteoricamente à fama e fortuna na arena de touradas, apenas para semear as sementes de sua própria queda. O toureiro Juan Gallardo se apaixona pela socialite Dona Sol, se afastando da fiel Carmen, que ainda assim se mantém fiel a seu homem enquanto ele continua a enfrentar um perigo real na praça de touros.

Bugs Bunny once again making that "wrong turn at Albuquerque" burrows into a bullring, where a magnificent bull is making short work of a toreador. The bull bucks Bugs out of the arena, prompting the bunny to declare "Of course you realize, this means war!" The deft Bugs' arsenal comes plenty packed, as he uses anvils, well-placed face slaps and the bull's horns as a slingshot. The bull fights back, using his horns as a shotgun barrel. The bull's comeback is short-lived; just after Bugs makes out his will, he lures the bull out of the arena, just in time to set up a rube-like device that leads to the bull's defeat.

Remake of the tale of an acclaimed matador who finds himself involved with a beautiful woman, jeopardizing both his marriage and career.

Cenas filmadas em vários países do Mediterrâneo, com assuntos variados, são exibidas diversas vezes durante o filme, sempre separadas e com diferentes durações. As imagens são acompanhadas por um texto de Phillippe Sollers e trilha sonora de Antoine Duhamel.

A group of disillusioned American expatriate writers live a dissolute, hedonistic lifestyle in 1920's France and Spain.

The wolf, the champion toreador, and Droopy, the challenger, are competing to see who is best in the bullring in the hopes of winning the hand of actress Lina Romay (who appears in a live action shot).

Little Pancho Vanilla dreams of becoming a bullfighter, but his mother tells him that's impossible. The greatest bullfighter in Mexico, Don Jose, is coming to town; Pancho tells the local women he's better, so he goes to the amateur tryout, but he gets thrown out because he's so small. The bull quickly disposes of the other amateurs, sending one over the fence, where he catapults Pancho into the ring right on top of the bull, knocking out the bull to great acclaim from the crowd.

A young Mexican boy tirelessly tries to save his pet bull from death at the hands of a celebrated matador.

Two shades of paint are pitted against each other in a bullfight that spills self-reflexively from the page into the animator’s studio

Sonja, a city girl from Zagreb, a vegetarian and a hardcore animal-rights activist, strongly opposes bullfighting in Dalmatinska zagora (Dalmatian Hinterland). People find this irritating and they conclude that no matter how passionately Sonja loves animals, she would never dare to stand in front of a bull. Bets are raised and Sonja faces a challenge in the form of Ante, known far and wide for his powers of persuasion.

Like every night, Manuel remembers the old days of glory, when after the war he was a famous bullfighter. He and his friend Juan were the fashionable couple. Now Juan is a prominent businessman in bullfighting. But Manuel's feelings toward him have changed radically: an inexplicable hated seizes him when someone mentions his name. It has been more than twenty years since that afternoon, when Manuel was bullfighting and fell to the ground.

Popeye visits the bullfight only because of lovely Senorita Olive. He finds himself accidentally in the toreador box, even though he doesn't want to fight because it's cruelty to animals. Popeye rides the bull like a bronco, then gets tossed around a bit. The bull plants Popeye in the ground and attacks; the crowd turns on Popeye. Olive comes down to help and the bull chases her. The crowd throws vegetables at Popeye, including (fortunately) spinach.

Orson Welles pitches to potential investors his vision of a largely improvised bullfighter movie about an existential, James Dean type troubadour who sets himself apart from other matadors. In front of an audience of wealthy arts patrons, Welles pontificates on the state of cinema, the filmmaking process, and the art of bullfighting.

In their spare time, after their studies or their work, children and adolescents between the ages of eight and sixteen meet at the School of Bullfighting in Madrid to learn the Art of Cúchares: Torear. In their stomachs there is no hunger as in the past, their dreams do not lie in having a farmhouse and being famous. Their only dreams are to be in front of a bull, animal with which death goes, fact of which they are fully aware, as their teachers continually remind them. These, retired bullfighters, some by age, others by force and all with their bodies full of scars produced by the horns of a bull.

La Cosa Nuestra is a journey to the most hidden and surreal face of the bovid-bullfighting universe. Fun and tremendous, operating in iconographic cannibalism. It is a work that shows another reading of the national holiday, demystifying it. Confronts the Spanish bullfighting culture with the visions and uses of the bull in other civilizations. This video creation immerses itself in the aesthetic, ritual and cultural universe of the world of bullfighting, rebuilding it critically, but at the same time with healthy irony.