A conflicted youth confesses to crimes he didn't commit while a man and woman aroused by death become obsessed with each other.

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Based on the negatives of the 33 'La Tauromaquia' engravings made by Goya in 1816, the director invites us to witness the transformation of bodies at the approach of death.

Two men share an odd friendship while they care for two women who are both in deep comas.

Currito, raised in a Seville hospice, ekes out a living while trying to become a bullfighter.

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. The nude bullfighting scene is fascinating without being exploitive, and it serves as an analogy for the vulnerability these young bullfighters have when in the ring with the bulls.

Against a background of war breaking out in Europe and the Mexican fiesta Day of Death, we are taken through one day in the life of Geoffrey Firmin, a British consul living in alcoholic disrepair and obscurity in a small southern Mexican town in 1939. The consul's self-destructive behaviour, perhaps a metaphor for a menaced civilization, is a source of perplexity and sadness to his nomadic, idealistic half-brother, Hugh, and his ex-wife, Yvonne, who has returned with hopes of healing Geoffrey and their broken marriage.

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

Bullfighter Juan Gallardo falls for socialite Dona Sol, turning from the faithful Carmen who nevertheless stands by her man as he continues to face real danger in the bullring.

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.

This short film "Torerillos 61" is one of the first works of the master Patino, which tries to portray the Spanish society of the time outside the state convention and dodging the hand of censorship. Social commitment is the brand director throughout his long career, starting with short films such as this one, made in the early sixties, in the wake of the statements in Talks Salamanca. The sadness off the characters portrayed is bleak, "Maletillas" (aspiring bullfighters) in search of luck to pull them out of poverty.

After his retirement, french philosopher and bullfighting enthusiast Francis Wolff decides to embark on a journey to France, Spain and Mexico joined by two mexican filmmakers who hardly know anything about bullfighting, a culture whose days seem to be numbered. During their road trip, they encounter numerous personalities with whom they reflect on mankind’s relationship with animals and nature, but most importantly on our relationship with death and the meaning of the ultimate journey: life itself.

This grisly documentary presents horrifying journalistic footage of suicides, assassinations, bombings, mob hits, decapitations, and more in bloody detail. Not for the faint of heart.

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

Set against the fiery backdrop of 1940s Mexico, Isabel Fernández is a fearless, soul-stirring bullfighter who shatters tradition and dares to dominate a male-driven arena. She’s not just fighting bulls… she’s confronting society itself.

Eight years in the making, Boetticher’s portrait of his longtime friend, the famous bullfighter Carlos Arruza, was a labor of love that the renowned director of westerns pursued despite contending with illnesses, bankruptcy, jail time, and lucrative offers from Hollywood. The result is an astonishing work of poetry, immediacy, and violence that fearlessly wrestles with the filmmaker’s own ambivalence about the titular matador’s triumphs prior to his death by automobile accident at the age of 46.

Carmen is a beautiful woman working in a business that is dedicated to smuggling. One day, Carmen fights and hurts to a smuggler woman, so a sergeant in the National Guard, José Navarro, stops detain her. In doing so he also falls in love with her, but jealousy will destroy his passion.

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

Ferdinand the bull was real. And everything was just like in the fairy tale. But the ending was something completely different. Meet the family who cuddled with the friendly bull in the paddock, the grandson of the keeper who accompanied him on the fateful journey to the arena, and the man who actually saw the bullfight in 1936 and has never been able to forget it. They all have their own story. And of course, we meet the beloved bull in a unique newly discovered film.

[Here] Pollet made a work that is the very definition of what French critics like to call an ovni or ufo (as in ‘unidentified filmic object’). [It] has been described as being ‘like a comet in the sky of French cinema,’ an ‘unknown masterpiece,’ and an ‘unprecedented’ work that refuses interpretation even as it has provoked reams of critical writing. Its rhythmic collage of images – a girl on a gurney, a fisherman, Greek ruins, a Sicilian garden, a Spanish corrida – is accompanied by an abstract commentary written by Sollers, and only the somber lyricism of Antoine Duhamel’s score holds the film’s elements together. At first viewing, you fear that [it] might fly apart into incoherent fragments. Instead, over the course of its 45 minutes it invents its own rules, and you realize you’re watching something like the filmic channeling of an ancient ritual. – Chris Darke, FILM COMMENT