Nao Albet

Básculas Blanco, uma empresa espanhola de produção de balanças industriais aguarda a iminente visita do comitê do trabalho que tem o seu destino em mãos para saber se a empresa merece o prêmio de Excelência Empresarial local: tudo tem que estar em perfeito equilíbrio quando o dia chegar. Trabalhando contra o relógio, o proprietário da empresa, Blanco (Javier Bardem) faz de tudo para abordar e resolver os problemas com os seus funcionários, cruzando todas as linhas imagináveis no processo. Representante da Espanha no Oscar 2022 de Filme Internacional. Vencedor de 6 Goyas 2022 (o Oscar espanhol), incluindo Melhor Filme, Diretor, Roteiro Original e Ator (Javier Bardem).

The story of Mireia Oriol and Mario Casas is a story of seduction. Will it be a temporary crush or love at first sight? Let's see what happens...

Ove is a young man who has been treated and raised like a sheep all his life. His daily life consists of eating, sleeping, grazing and hanging out with LL, the only sheep in the herd that seems to accept him.

Two young promises of theatre fall into the nets of greed as they try to raise the money needed to carry out their most ambitious montage. A spiral of nonsense, drugs and lies, which begins in Syria and ends in Las Vegas.

Two young promises of theatre fall into the nets of greed as they try to raise the money needed to carry out their most ambitious montage. A spiral of nonsense, drugs and lies, which begins in Syria and ends in Las Vegas.

'Superlópez' se inicia quando uma criança de origem extraterrestre é enviada do planeta Chitón para a Terra e aterriza na Catalunha. A partir daí, tudo é possível ... Adaptação cinematográfica do popular personagem de histórias em quadrinhos criado nos anos 1970 pelo cartunista Juan López Fernández (Jan).

Barcelona, 1966. Laia is a Law student at the University of Barcelona. She works part time in the University library to help cover her tuition, and writes songs in her free time. Laia starts dating Ignasi, a student who is committed to the clandestine fight against the Franco regime. Someone breaks into their relationship; David, Ignasi's best friend. A shallow boy from a well-to-do family. But David is not who he seems to be.

Prades, France, 1940s. The exiled Catalan cellist Pau Casals decides not to perform any more in public until the fall of the dictatorship that oppresses Spain. Pierre, a young Frenchman studying with Casals, tries to convince him to celebrate an extraordinary concert as a tribute to freedom.

The last train travel of the year from Barcelona to Madrid, suddenly stops by a voltage drop in the middle of nowhere during a fierce snowstorm. Because of the peculiarity of its passengers, will begin to emerge hilarious conflicts between them.

Yao and Moroccan Rachid arrive illegally in Valencia, Spain, and separate. Yao sells pirated DVDs in the street and wanders disconsolately around the barrio until he glimpses divorcee Maria Luisa working in her boutique. High-strung and irritable, Maria lives with her gay son, Rober, who, like many other things in life, is a disappointment to her. Rachid, meanwhile, is doing just fine working as a hairstylist in a beauty salon; Rober is hopelessly in love with him. When Yao starts sleeping in Rober's flat, a confrontation between him and Maria suddenly becomes inevitable, and when it comes, what could have been an embarrassment is actually handled with grace.

The city council would like to evict a group of squatters in order to use their Big House for a community center.

A family seen at two different periods, some 40 years having passed between the two. A dysfunctional family marked by what used to be called an ugly illness, cancer and death. The characters quarrel, hate each other, and refuse to accept in their predecessors what they will eventually, inevitably repeat in themselves. A family marked by relations of rejection, love and hate of the other, the upstairs neighbors, those strangers from a far-off land, Andalusia in the 1960s, Morocco at present, who will also form part of this repetitive game that is life. To what point is everything a metaphor or symbol of our society? Are we really strangers to ourselves?