A collective essay that examines the films of one of the cursed directors of Spanish cinema.

Eloy de la Iglesia. The hidden pleasure of Spanish cinema It brings us closer to the vibrant and complex trajectory of one of the most important directors of the Transition, responsible for such popular titles as The glass roof, The killer's week, The deputy, The peak either The tobacconist of VallecasViewed with disdain by critics of the time, who did not forgive his commercial ambition, and claimed by the new generations, the figure of Eloy de la Iglesia It is fundamental to understanding one of the most turbulent periods in our recent history.

This collective essay, coordinated by Carlos BareaIt delves into the various aspects that converge in the films of the Basque filmmaker, where the will to provoke and the rawest eroticism They coexist with the intention of realistically showing the political ups and downs and the social transformationsHis extensive filmography featured the stars of the moment (Carmen Sevilla, Amparo Muñoz, Simón Andreu, Vicente Parra or José Sacristán, among others) and new talents without experience in front of the camera (such as José Luis Manzano, his favorite actor).

Homosexual and communist, Eloy de la Iglesia played a decisive role in portraying the bright spots and, above all, the dark sides of a country awakening to democracy but turning its back on a segment of the population. Among the marginalized were those known as petty criminals, who gave their name to the successful film subgenre, or the members of LGBT community, whom he gave a voice that had been silenced until then.

Book details:

AuthorsDiana Aller | Alejandro Melero | Juan Sánchez | Eduardo Bravo | La Caneli | Nicolás Grijalba de la Calle | David Velduque | Vicente Monroy | Francina Ribes Pericàs | Violeta Kovacsics | Carlos Barea