Juan Antonio Leyva

Juan Antonio Leyva

N/A

N/A

Most Known for...

Movie Picture

The Sleeping Voice 2011 (6.765)

Finished the Spanish Civil War in April 1939, in November 1940, while Spain is being crushed by the ruthless boot of dictator Franco, Pepita travels from rural Córdoba to Madrid to be near her sister Hortensia, who is seven months pregnant and imprisoned, haunted by the shadow of a death sentence.
Movie Picture

Behavior 2014 (7.2)

Meet Chala, an eleven year-old boy with a hard life and strong respect for Carmela, his sixth grade teacher. The pair develops a solid bond, but after Carmela suffers an accident, things get complicated…
Movie Picture

Fallen Gods 2008 (5.9)

In the manner of a well run Greek tragedy, leaving aside one of its components, dragging in its passing narrative certainty by the viewer that violent death is the hallmark of so much misfortune purifier, Los Dioses Rotos crowns the very successful arrival of Ernesto Daranas to the feature domains and with it, the team that accompanied him, including the actors.
Antonio Leyva

Antonio Leyva

N/A

Most Known for...

Movie Picture

Family United 2013 (5.9)

Five siblings gather to celebrate a wedding at their family estate on the day Spain plays the final of the 2010 World Cup.
Movie Picture

Juana la Lorca 2022 (6)

The transformist artist Juan Moreno, to put it another way, a gypsy from Sacromonte, is struggling at an extraordinary vital crossroads. He had always hated Federico García Lorca for his stereotypical view of gypsies, but he has had a strange dream that revolves around his poem Son de Negros en Cuba. From this experience he begins to feel inexplicably identified with the poet's work… So much so that he ends up acquiring a new and explosive personality: that of Juana la Lorca. With this nom de guerre, he will embark on a path of no return full of incidents, but also of shocking revelations that will shed light on the life and death of Federico García Lorca. With this singular and irreverent work, Valeriano López humorously vindicates the homosexual dimension of the most rebellious Federico García Lorca, at the same time he makes a ruthless satire of Lorca's clichés and of the "industry" built on the poet's legacy.