• Directors:
  • Producers: Fernando Bovaira
  • Writers: Mateo Gil
  • Genres: Adventure, Drama, History, Romance
  • Actors: Rachel Weisz, Max Minghella

Tells the story of astronomer-philosopher Hypatia of Alexandria (Weisz) and her relationship with her slave Davus (Minghella), who is torn between his love for his mistress and the possibility of gaining his freedom by joining the rising tide of Christianity.[6]

Abre los ojos

  • Directors:
  • Producers: Fernando Bovaira
  • Writers: Mateo Gil
  • Genres: Drama, Mystery, Romance, Sci-Fi, Thriller
  • Actors: Eduardo Noriega, Chete Lera, Najwa Nimri

From a prison cell in an unnamed city, César, a 25-year-old in a prosthetic mask, tells his story to psychiatrist Antonio. Flashbacks reveal the following events: Good-looking César is attractive to women. At his birthday party he flirts with Sofía, the girlfriend of his best friend Pelayo. The next morning, he accepts a lift from his obsessive ex-lover Nuria. She crashes the car, committing suicide, and César is horribly disfigured, beyond the help of cosmetic surgery. Sofía prefers Pelayo again.

After César’s disfigurement, he begins to have a series of disorienting experiences. Drunk, César falls asleep in the street. On awakening everything has changed: Sofía now claims to love him and the surgeons restore his lost looks. But as he makes love to Sofía one night, she apparently changes into Nuria. Horrified, César murders her, yet finds everyone else believes Nuria was indeed Sofía.

While he is confined to the prison, fragments of his past return to him as if in a dream. It is gradually revealed that, shortly after his disfigurement, César contracted with ‘Life Extension’, a company specializing in cryonics, to be cryogenically preserved and to experience extremely lucid and lifelike virtual reality dreams. Returning to their headquarters, under strict supervision by prison officers, he discovers they specialise in cryonics with a twist: “artificial perception” or the provision of a fantasy based on the past to clients who are reborn in the future. He then committed suicide and was placed in cryonic suspension. His experiences from about the midpoint of the movie onward have been a dream, spliced retroactively into his actual life and replacing his true memories. At the end of the film he elects to wake up and be resurrected. Convinced his life since the drunken night in the street is simply a nightmarish vision created by Life Extension, César leaps from the roof of the company’s high-rise headquarters, resolving to open his eyes once more to real life outside the cryonic fantasy.

The Others

  • Directors:
  • Producers: Fernando Bovaira, StudioCanal
  • Writers:
  • Genres: Horror, Mystery, Thriller
  • Actors: Nicole Kidman, Alakina Mann, Christopher Eccleston, Fionnula Flanagan, Elaine Cassidy, James Bentley

The scene is set in the British Crown Dependency of Jersey, in the immediate aftermath of World War II. Grace Stewart is a Catholic mother, who lives with her two small children in a remote country house. The children, Anne and Nicholas, have an uncommon disease characterized by photosensitivity (a special feature on the DVD indicates the disease is xeroderma pigmentosum), so their lives are structured around a series of complex rules designed to protect them from inadvertent exposure to sunlight.

The new arrival of three servants at the house (an aging nanny and servant named Mrs. Bertha Mills, an elderly gardener named Mr. Edmund Tuttle, and a young mute girl named Lydia) coincides with a number of odd events, and Grace begins to fear that they are not alone. Anne draws pictures of four people — a man, a woman, a boy called Victor and a scary old woman whom she says she has seen in the house. A piano is heard from inside a locked room when no one is inside. Every time Grace enters and exits the room the door closes, but while she tries to figure out why, the door slams on her face knocking her to the floor. Grace tries hunting down the “intruders” with a shotgun but cannot find them. She scolds her daughter for nonsense about ghosts until she hears them herself. Eventually convincing herself that something unholy is in the house, she runs out in the fog to get the local priest to bless the house. Meanwhile, the servants, led by Mrs. Mills, are clearly up to something of their own. The gardener buries three gravestones under autumn leaves, and Mrs. Mills listens faithfully to Anne’s allegations against her mother.

The truth is finally clear to Grace and the audience: She breaks down with the children and remembers what happened just before the arrival of their new servants; yearning for the company of her missing husband and increasingly frustrated by her children, she went insane, smothered them both with a pillow and then, realizing what she had done, shot herself. When she awoke, she assumed that God had granted her family a miracle. Grace and the children realize that Charles is also dead, but he was not aware of this fact. Mrs. Mills appears and informs Grace that they will learn to get along, and sometimes they won’t even notice the living people who inhabit their house. Outside, Victor’s family — less than happy with their haunted house — pack up and move out. From the window, Grace and her children watch as they drive away. Despite her earlier loathing of the house, referring to it as a prison, Grace ends the film with the line; “No one can make us leave this house.” and disappears with her children in her arms.