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This essay explores a new model of Spanish cinema established by a group of filmmakers who have entered the field in the last decade. These new film practices are related to changes in technological, cultural and social processes in a transnational context and to how some film critics understand film aesthetics. To illustrate these issues, we will examine the case of Javier Rebollo, a filmmaker and producer of three feature films, the coproductions Lo que se de Lola/Ce que je sais de Lola (2006), La mujer del piano (2010) and El muerto y ser feliz (2012). The essay will engage with questions of reception and auteurism and with the construction of the cinematic canon in Spain.
Spanish cinema auteur cinema javier rebollo film criticism coproductions