Buñuel in the Labyrinth of the Turtles (2018) - full transcript

No, no, no!
That's not the question!

If you have to ask yourself
why you want to be an artist,

you aren't one.
It's like being tall or blonde.

I don't agree.

You can have a certain sensitivity
but you have to develop it.

But that's not what matters.
What use is what we do?

Why do we do it?
Don't you see?

To express ourselves.
Isn't that the purpose of art?

Yes, but art must communicate.

It must move the viewer
change him, transform him.

What else is art for?



- I disagree.
- Stop, it can't change the world.

- Coups change the world.
- I totally disagree.

- Artists are just here for the music.
- What nonsense!

I'm not saying
we don't need a coup occasionally.

But this is more effective.

It's not about changing the law

but changing the way people think.

Careful, that can be
used in many ways.

Sure, sure,
but we must think that art

must make people think and feel

and doesn't become the
"bread and circuses" of capitalism.

Exactly,
that is the purpose of surrealism.

It's so provocative
that no one can remain indifferent.

You can't change the world through
mental masturbation. Stop kidding.



- You're so old fashioned.
- It's like a nightmare.

And that's the key.
There isn't anything to understand.

But if you don't understand something,
what use is it?

It seeps into your subconscious

- and changes you from the inside.
- In fact,

it's a matter of changing the world

- without the world being aware.
- Something isn't working

because fascism is on the rise.

Luis. And you? What was your purpose
with Un Chien Andalou?

And L'Age d'Or,
it's coming out tomorrow.

And the next ones. What are you
looking for in your films?

BUNUEL IN THE LABYRINTH OF THE TURTLES

Luis!

Luis...

Luisito.

Well, what are you waiting for?

Come on!
Everyone else is in the street!

- Father has grounded us.
- Come on...

I talked to him
and he's changed his mind.

You're from Calanda
and you can't miss this day.

Can't she come?

No, she can't.

Come on!
You could still be late.

Hurry!

Goodbye, mother!

Dang!

- Blasphemy!
- It's a scandal!

- Shame on you! Close the theater!
- Shut up!

- Ignoramus!
- Dirty atheist! Fascist!

- Dirty atheist!
- Communist!

It's incredible! Look.

- What do you think of it?
- It's extraordinary!

Come on, hurry!
Quickly, quickly!

Excuse me.

Are you Luis Buñuel, the director?

I'm warning you,
I can box and I'm armed.

No, no, we loved it.

- Thank you.
- The dream-like images, the music

and how you used that voice
with a character we don't see.

I've never seen anything
as great in a cinema.

I've never seen anything like that
in a cinema. It is extraordinary.

You're very kind.

Are the ideas yours or Dali's?

Mine.

But there are some images
that have a lot of Dali.

Look!

There's a very simple way
to differentiate my ideas from Dali's.

What is it?

They're all mine!

- Excuse me.
- Yes?

I was in there too
but I saw no sign of Dali.

And who are you?

Eli Lotar,
photographer and documentarian.

- Like you, I want to
change the world.

- That's good.

Look, I want to
offer you this project.

- What did you say your name was?
- Eli Lotar.

Look, Mr. Lotar, I'm very grateful,

but at this moment
I'd rather focus on my own projects.

With this, you could help
many of your compatriots

in Extremadura.

Please, keep it.

Very well.

VATICAN CITY, 1930

Your Holiness,
I beg you to forgive my son Charles.

He didn't know what he was doing
when he invested in that film.

Your Holiness,

may I remind you that
you were going to excommunicate him.

My son is a good man
but he is an idiot, he was tricked.

It's all the fault
of that Spanish heretic, Luis Buñuel!

I will make sure he does not mock
this holy institution anymore.

I assure you, your Holiness,

that Luis Buñuel
will no longer film in Paris.

What? No, Charles!
You told me it was definite!

But you loved the project.

Buñuel?

And what about Wuthering Heights?

And Robinson Crusoe?

Come on, Charles, look...
Charles?

Charles, Charles!

Excuse me, do you have a light?

Yes.

Here you are.

You have a strange accent.

It's from Aragon.
Where are you from?

From Extremadura.

We're not used to so much humidity
and so much water together.

Which part of Extremadura
are you from?

From Las Hurdes.

Salvador...

L'Age d'Or was too big a scandal.

That's fantastic!
Surrealism is winning!

For some more than for others.

You're doing well, Salvador.
Maybe you could lend me some money?

Or speak to someone who could
finance my movie about Las Hurdes?

A gypsy read my fortune

and told me
not to lend money to friends.

But...

I'm sorry, but I can't help you.

How are things here, Ramon?

As good as they can be
for a poet these days.

Ramén, don't be so humble.

You got paid well
for your last sculpture.

Yes, but we invested it
all in the school.

Be careful, honey. Here.

It's a school for the
workers' children.

We're short of money, but we manage.

If this country isn't getting better

it isn't because you aren't trying.

How about you?
How are you doing?

Fine.

Fine.

Terribly. No one wants
to finance my projects, Ramon.

The truth is these people
need someone to do something for them.

Yes.

Las Hurdes is the most miserable,
forgotten place in the world.

This time
no one will be indifferent.

I'll really get their attention.

Yes, but... a documentary?

You, the king of surrealism,
making a documentary?

Yes, why not?
Of course, yes. I have to do it!

I have to do it, Ramon.

It'll be my big chance, you'll see.

When are you planning to shoot?

When I have the money.

I was planning to get it
here in Spain but...

outside of Paris
no one knows me.

And there,
my name means problems.

- What about your mother?
- She's fine, and yours?

She's fine too, thank you.

No, I mean she gave you the money
to shoot Un Chien Andalou.

And that's why
I can't ask her again.

Ramén, like in the old days.

- Dammit, Luis, they'll kick us out!
- Great.

Get out of here!

Ramén, I think
I'm ruining your reputation.

I think that's beyond repair now.

Wait, Luis, I'll be right back.

- Good morning, ma'am.
- Good morning, sir.

- Give me a lottery ticket
- For this week or for Christmas?

- Which one has the bigger prize?
- The Christmas one.

Then the Christmas one,
and give me the winner!

- Take this number and you'll win!
- Thank you, ma'am.

Look, Luis!

If I win the Christmas lottery,
I'll pay for your documentary.

That would be really surreal!

The lottery!

- Good morning, sir.
- Good morning.

One croissant and one baguette.

Here you are. 1.50, please.

Yes?

Mr. Buñuel, you have
a call from Spain.

Coming!

Coming.

Thank you.

Oui...
I mean, Hello. Buñuel speaking.

Luis!
Luis! It's me, Ramon!

- Hello Ramon!
- Listen to me!

Go on!

Pack your bags,
we're going to Las Hurdes.

- What do you mean?
- I won the lottery!

- Are you serious?
- Yes, of course!

I thought you were kidding.
What about your wife and daughter?

Conchita would never forgive me
if I don't keep my word.

You're giving the money to Luis?
To go off and make a movie!

Come on!

Ramén!

Ramén!

Luis!

Let me take your case.

For the most miserable place in Spain
it looks pretty good.

No, this isn't Las Hurdes yet.
This is La Alberca.

The documentary will begin here.

Speaking of the documentary,
do you have a script?

Here.

After two weeks on location,
this is the script?

This isn't a conventional movie,
Ramon. This is reality. Pure, naked...

What the hell...!

Are you still afraid of roosters?

If something that can fly decides
to be so compliant I don't trust it.

Why so many roosters?

The boys who are getting married
will rip their heads off.

Are you serious?
What have we got into?

Come on, I'll take you to the hotel.

What's this?

Well, during the shooting
we'll need to walk a lot,

but we'll go part of the way in this.

How much was this?

- Like a quarter of the budget.
- A quarter of the budget?

And we haven't even started!

Yellow Fiat.Transportation.

A mere trifle.

Are you sure you can drive this?

Yes, it's easy, they explained it all.
You move the wheel...

and this little stick...

Luis, be careful!

So, "producer". We start in two days.
Where's our cameraman?

An eight.

That's too much.
A six, and that's all.

We're in Paris.
There are no sixes here.

Mr. Lotar,
you have a telegram from Spain.

Thank you.

What is it?

- We're going to La Alberca.
- Where's that?

About 1,500 km from here.
We have two days to get there.

It's impossible!

They won't arrive in time.
Can you tell them to wait?

And delay this prehistoric barbarity
for you?

They didn't even want you to film it.

Here they come!

They're not there.

They must have missed it.

When's the next one?

- The day after tomorrow.
- Damn!

Did you think that this was Paris?

Think about another way
to start the documentary.

Hey!

- Welcome!
- Hello, Luis.

- This is Ramon Acin, the producer.
- Hello.

- Eli Lotar, the photographer.
- Nice to meet you.

Pierre Urik, he worked with me
on L'Age d'Or,

and he'll help me
with the text and direction.

- Nice to meet you.
- Are you crazy?

Do you know how much
a taxi from Madrid costs?

Not from Madrid,
we took it from Paris.

Sons of bitches!

Come on, take the camera
and let's move.

- Is this a stain?
- No, that's a zero.

- And this?
- Another zero.

Good.

Hurry!

Shoot, Pierre.

Excuse me. Good morning.

I'll take that chicken, please.

- Do you want me to kill it?
- No, I... I'll take it to go.

OK.

I've got it!

Hold on to it, OK?
Hold on to it.

Let's go, come on, hang it up.

Ready!

- Get the shot as close as you can.
- Who'll rip off the head?

- Pierre!
- No, no, not a chance.

Ramén, come on.

Dammit, Luis, this isn't what you
told me. This is another movie.

- No, it's not
- It's like Un Chien Andalou.

No, this is reality.
The head is ripped off, right?

So we're not making anything up.

Come on, rip off the head,
and we're clone.

- It's not coming off.
- Pull harder!

It's really tough!

I can't watch this either.

- It's not coming off.
- Someone has to do it.

Wait a minute,
I'll be right back.

Excuse me, I want to ask you something
that might sound strange.

Go ahead.

If I gave you ten reales
would you rip the head off?

Which one?

No, the rooster.

Oh, the animal!

I'd do that for one real,
but give me ten.

OK.

Tell me when.

Filming.

Now!

Until now, I hadn't found
the right moment to return your book.

Keep it. It's yours now.

I couldn't go ahead with the project
but I'm glad you can.

What matters is that this documentary
helps these people.

These past days
have been very enlightening.

I know that feeling. You start
to see the world in a different way.

Everything has a different meaning.

Do you know
when they transport the hives?

Soon, after the rainy season.

They carry them on donkeys
along those terrible paths...

Sometimes, if the hive falls off,
the bees kill the donkey

and even sometimes the muleteer.

Really?

I hope we don't have
to face that, right?

Yes, yes, of course.
Let's hope not.

- Las Hurdes.
- Does anyone live here?

Yes, about 8,000 people
in 52 villages.

We're going to Las Hurdes Altas,
the poorest area.

Let's film!

And now, the descent into hell.

Luis, careful! Slow down!

Luis! We're going to die!

Stop complaining!
What a load of babies!

This is great! Such freedom!

Concentrate, Luis!

Why don't you use the brakes, Luis?

Stop whining!

Slow down!

Pray to God
so we can see French Catholicism!

Luis, look straight ahead!

It isn't that bad.

Will you just look at where we are?

Luis, you are never ever
touching a car again, OK?

Sissies!

I'll never get into this car again
if you're driving.

Excuse me, I'm a wonderful driver
and I drove magnificently.

And this is what you call "hell"?

I've been really bad.

This is the Las Batuecas monastery.
It'll be our base for filming.

- Brother Joaquin!
- Welcome.

- How are you?
- Come in, come in.

Luis, how much will all of this cost?

Welcome to filmmaking, Ramon.

This used to belong
to the Discalced Carmelites.

Now there is only one monk,
who rents the rooms

to cover the expenses of the place.

- And it isn't expensive.
- We'll see...

- What about the girl?
- Well, the girl

is from La Alberca.
She'll help with the cleaning.

Just cleaning?

I bet there's something
between the monk and her.

You're unbelievable.

I'll never understand
why you like guns.

That's a pity. If you did,
you could explain it to me.

But I love that stuff.
Maybe I got it from my father.

- It's my only vice.
- And smoking.

And drinking. And eating.

Well, and making things harder for me.

It seems that you're
in a really good mood.

That's a good sign, right?

You know, since you called me,
I haven't had a single dream.

$0?

That really is a good sign.

Sleep well, Luis.

Good night.

Father, is it a puppy?

- It's a cake, isn't it, father?
- Even better.

- What is it?
- A magic lantern.

Wow!

- I don't like it.
- It's ugly

THE MYSTERIOUS ISLAND

Come in, come in.

The show is about to begin.

Enjoy our luisian elixir

that comes from a distant country.

Welcome! We present for you...

The Great Adventure
on the Mysterious Island.

Our explorers arrive
on an unknown island

where great dangers abound.

Now, our fearless adventurers

will go into
the dangerous Mariana Cave.

- Damn! Turn that light off!
- Come on, get up!

Already? My god!

- But we just fell asleep.
- It's 4:30, come on!

- So early?
- I hope this isn't one of your jokes.

We need time
to get to where we're filming.

Come on! Get up! Let's go!

Have we arrived?

You can't get there by car.
We have a two hour walk now.

- Two hours?
- Come on, it could be four.

Why are they looking at us like that?

My stomach's in a knot. I can't eat.

They'll never be able
to eat like this.

I'm going to give them something.

Look at those vultures!
Let's film them!

Yes! I'll take the camera.

And I'll take the tripod.

What vultures?

Oh, yes, the vultures, yes.
I was...

I'll go with you in case you get lost.

Martilandran.
This will be our first stop.

I can't go on.

Eli, let's get
some general shots of the village.

All these narrow, twisted streets...

- It looks like a labyrinth.
- A labyrinth within a labyrinth.

The roofs remind me of turtle shells.

Hello, how are you?
Could you show us your home, good sir?

Where are you from?

He and I are from Aragon,
like the "jota" dance.

And these two men are French.

Why come so far to see my home?

We want to know how you live.

In my country,
the houses are very different.

Those cigarettes you're smoking...
They smell good.

Yes, of course. Here, have some.

Well, come in, come in.
It's a very simple home.

The animals, my wife,
my three children and I sleep here.

My other child is in his grave.

Thank you, sir.
We'll try not to bother you.

- And do you have a light?
- Of course, here you are.

It smells terrible in there.

Eli, let's go film inside.

- What's that for?
- To get light into the houses.

What a contraption!
We Hurdans must be really important

if people come from France
just to film us.

You certainly are!

There aren't any
roosters inside, are there?

No, no.

A bit more to the right!

OK!

Oh, my god! How can...

So dramatic!

Time to get up!

- Come on.
- What time is it?

Four o'clock

Even earlier than yesterday?

We'll have a hearty breakfast here

so we don't have to eat anything
in Las Hurdes.

Come on,
what are you waiting for?

Father?

Father!

Father!

Father!
Did you know I'm a movie director now?

And I'm making a movie here
about Spain.

It's going to be a real success.

I'm sure you'd be proud of me.

Father, can you look at me?

Father...

Well? Are you coming?
Or do we have to carry you?

Yes... I'm coming.

What the...
Dammit, Luis!

We're going to fall
before the goats do!

Whoever told you
these goats fall was lying.

Come on! Let's go!

We're running out of film!

Ramén!

We'll get as close as we can
to that goat and we'll shoot it.

You're a savage!
We need to be true to reality.

Don't be such a purist.

Either we do that or we wait
until it falls on its own.

Pierre! Go to the top,
look for a goat,

and keep it there until we arrive.

Eli! Eli!

Focus on the goat.

Try to get a good shot
while it's falling.

- OK!
- We'll only have one chance.

Filming!

Eli! Did you get it?

Trés bien! Perfect!

We're ready!
The goat and I!

Keep it there!
We're coming up!

OK, but don't be long!

Here's your supper.
We found them in La Cañada Seca.

- They fell.
- All by themselves.

Yes.

Eli, prepare the camera without them
noticing. Come with me.

Hello! Would you mind
if we took your picture?

- Is that thing yours?
- Yes.

If you give us a ride.

OK.

Pierre, it's your turn.

Quoi?

- Faster! Go faster!
- Come on!

Stop, I'm getting out.

I'm going to vomit!

Again! Again!
Please, one more time!

"Faster, faster!"

- Very funny.
- "Hurry, hurry!"

- "Quick!"
- "Faster, faster!"

"Faster, sir!"

I don't know who's the most childish.

Ramén.

Tomorrow we are going
to the school in Aceitunilla.

That's great!
You'll leave the gun here, won't you?

Good night.

Come in.

Luis! Really!
Why are you treating me like this?

My lady! I'm sorry.
I didn't know...

But now that I've seen, I believe.
I believe in you.

Luis...

- Luisito.
- Mother?

Yes, I'm the mother
of every creature in the world.

You too.

Why do you have
my mother's face?

My face is the one
that your eyes want to see.

But now come with me, come on,
I want to show you something.

Slower! I can't fly!

- A giraffe?
- Yes, a giraffe.

Now look inside.

Film.

There.

Thank you so much
for letting us film.

A pleasure.

For such a small village,
there are a lot of children.

Most of them are pilus from
the orphanage in Ciudad Rodrigo.

The families who take them get 15
pesetas a month from the government.

Look!

Goodbye!

- Goodbye!
- Goodbye!

Cut!

I think we have enough for today,
right, Luis?

Luis! Wake up!

What is it?

What's wrong with her?

What's wrong with that girl?

I don't know, sir.
She's been sick for a few days.

She probably lay down to die.

- You know something about first aid.
- Just a little bit.

Come with me.

What's hurting you, little one?

Down in my tummy!

Can I see?

Open your mouth.

Eli, cut!
Stop filming!

Eli! I said stop!

- So now we can't film?
- No!

She has a fever
and her mouth is very inflamed.

It could be pains
from her first period...

or something more serious.

Can I have a sombreriño, sir?

What's that?

It's a sachet of medicine.
Are you doctors?

I wish we were.

- We don't have medicine either.
- Where could we get some?

There's no medicine here.

For fever we use lupines
and for pains, coffee with anis.

In her state,
those would make things worse.

So, what can we do?

Just wait.

Luis, I'm sorry
but we can't stay here.

There's a storm coming.

Come on!
Look on the bright side.

This way,
we can eat and sleep all we want.

So don't worry.
We're doing very well.

Let it rain.

- So, let it rain?
- Yes, but not five clays in a row.

We're here to make
a movie, not for this.

Will shouting make it stop?

We're running out
of time and money.

You'll have to cut some scenes.

I've edited the voiceover script
so many times, it looks like shit.

We still have to do Martilandran,
the river, and the surroundings.

We'll do them all.

If you hadn't tried to fake things

and ruined everything,
maybe we'd be on schedule.

I'm not faking things, this is
a dramatization of what's happening!

Yes, yes, the surrealists,
what a crew.

If I'd known this...

Can't you breathe more quietly?

Damn!

Father!

I'm so happy to see you!

Why do you have a
mustache like Dali's?

You were going to take him off
the credits in L'Age d'Or.

And I should have.
He didn't add anything to the script.

That harpy Gala
had corrupted everything.

He was your friend!

Why did you turn your back on me
when I needed you most?

I'm not Dali.

Yes, you are Dali.

Then“.

That means he's inside you.

- That's a lie.
- He is the true surrealist!

No!

- You've always been his pupil.
- No!

Without him,
you would be nothing.

No, no, no!

What's wrong?

The dreams... they're back.

I don't care about your dreams.
I care about the rain.

Because it's not your movie.

Come on. Let's go!
We can't afford to lose a minute.

- I know, but where's Luis?
- He usually wakes us.

Are you sure we're awake?

Good morning!

You're supposed to scandalize
the spectators, not the Hurdans!

What's so scandalous?

What could be more
respectable than this?

Come on!
Take that off and let's go!

Hail Mary, full of grace!

It's a great day to start
shooting again!

Yes, it's a damn great day!

I couldn't think of a better day.
Aren't we lucky!

There's no one here!

Maybe just as well.

- Mayor!
- Don Ramon!

How are you?

You wanted to film
the village and the houses, right?

What's that?

Mr. Buñuel had a strange idea.

- That's an insult!
- It's blasphemy!

You said you wanted to help us,
not make fun of us.

Don't ask me
to help with this nonsense!

But, mayor, wait, I'm sorry...

Well? Happy now?

How was I to know I'd be a
victim of religious persecution?

That isn't funny!

We're almost out of time and money

and now you're behaving like this.

Oh, Ramon...

This is about portraying
the true face of reality.

The essence of surrealism
is the division between...

What the hell
are you talking about?

Do you hear yourself?
Do you?

We're supposed to be here
to change things, to help these people.

Not to mess around
and play at being an artist.

That's what Dali does, not you.

Let's keep going.

Ramén! Ramon! Wait!

We still have time
to talk to the mayor.

Luis.

Well!

With all respect, don't you think
you're going a bit too far?

Look!

Come on, get the camera ready.

You're not going to do
anything terrible, are you?

Just a minute!
Would you mind if we filmed you?

That's it, now!

Could I buy the donkey
and the hives with this?

- It's too much.
- That's OK, keep it.

Are you sure about this?

Death is hiding at every corner,

but it won't come out
if we don't force it.

Make sure you get this.

Mon dieu!

Filming!

The donkey is suffering!

Luis!

Like this, and when it's in the air,
you take the other one.

Now, stand still, like statues.
That's it.

Luis, I can't do it.

Now you lie down on the ground.

Please, help me!

Luis, come here!

Look.

Luis!

Have you gone insane?

You said he'd change!
He's even worse!

You're never to come back here again!
You hear?

- That's it!
- Wait.

No, no, I don't want to wait!

This wasn't a game for me,
you know?

I have a daughter and a wife,
and they've been deceived.

No! We were both deceived,
because we believed in you!

In what we were going to do
for these people.

But I see you're still a rich kid

except now you're playing
with other people's money.

Now I understand Dali,

and the count, and your mother!

It's impossible to work with you,
this has been a huge mistake.

It's over!
I'm taking everything with me!

This is over.
We're leaving tomorrow!

- But the camera is mine.
- You'd better be quiet.

Excuse me, ma'am.

What happened to the child
who was here? She had stomach ache.

The poor thing died.

Sir, are you all right?

When's the burial?

It was yesterday,
they took her to Nuñomoral.

- So far?
- We don't have a cemetery here.

Well, thank you.
Have a good day.

God be with you.

Please!

Hey!

Please! Wait!

Sir!

Sir, is something wrong?

Are you lost?

I think I've been lost
since I got here.

Where's my shadow?

And look at yours!

The sun is very strong here
and you see strange things.

You can't fool me.

You're dressed as an Hurdan
and you speak like one.

But you are Death.

That's too dramatic.
I'm just doing my job.

- Have you come for me?
- I'm always very busy here.

No, please, not yet!

Please, I still have a lot to do.

If you haven't done it before,
it can't be that important.

But l...

"Me, me, me..."

The living only care about things
when they lose them.

I'm not important,
but what I need to tell is.

Then tell it, come on, now.

Here and now?

I can't.

I'm alone.

I see.

Wait, where are you going?
Is that all?

Have you nothing more to say?
Aren't you taking me?

And who said I was coming for you?

Eli!

Eli, wake up!

What is it?

There's something we need to do.
Wake Pierre.

- The three of us are going out.
- And Ramon?

It's best if we don't wake him.

Aren't we leaving this morning?

No, we need to keep filming.

Ramén will understand. Come on.

OK, you know him better.

Pierre, wake up!

Luis?

What the...!

Where's the car?

Your friends left a moment ago.
Good morning.

Go on, go home!

Ma'am, think of your little boy
in heaven now,

with the angels, playing, laughing.

And every time
you look up at the sky,

you'll see him,
playing with the clouds.

Luis, are you crying?

Me? Not at all.

Come on, shoot now.

Go ahead! Go ahead!

Come on! Keep going!

Shoot!

Camera! Action!

Cut!

Really good, thank you so much.

Ma'am, thank you, really.

Luis!

I'm sorry.

I've never heard you say that before.

It's an awful word.

It's one thing to be provocative,

and another to screw
over your friends.

I'll leave that to Dali.

I'm sorry
if I gave you a hard time, but...

I know, Luis,
this is your big opportunity.

No, it's the only opportunity
for these people.

You can tell me how you managed

to organize all this.

I bought the kid, with your money,
so now he's yours.

What?

You can go to hell!

Damn, my feet!

We still have a lot to film.

We're almost out of money.

We've got just enough
to rent the moviola.

Ramonin, don't worry.

We'll keep filming
and figure out how to do it.

You scare me!

I'm coming!

I'm coming!

Hello, Ramon!

How long have you shut away in here?

I don't know, but it's almost
finished. Hot off the presses!

I mean really hot!

What a set-up you have here!

We have to celebrate, right?
Have a couple of rosés.

Of course.

Where's the wine?

There it is.

- Ramon, to Las Hurdes.
- To Las Hurdes.

On July 18,1936,
civil war broke out in Spain.

Ramén Acin was executed
by Franco's army on August 6, 1936.

His wife, Conchita Monras,
was executed 17 days later.

We regret to inform you
that Don Ramon...

In late 1936,The Republican
government allowed the release of

Las Hurdes, tierra sin pan, but
removed Ramon Acin from the credits

because he
was a known anarchist.

In 1960 Luis Buñuel, now recognized
as one of the great names in cinema,

re-released Las Hurdes,
tierra sin pan.

He restored Ramon Acin's name
in the credits

and gave the proceeds
to Ramon’s daughters, Katia and Sol.