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Storyline: Vicente A. Pineda; Screenplay: Vicente A. Pineda and Javier Aguirre. Comments/Text: Dionisio Ridruejo. Music: Luis de Pablo. Photography Director: Manuel Rojas. Setting and decoration: Roman Calatayud. Staging: Antonio Ramírez. Production assistant: Jose Luis P. Tristán, Gonzalo Sebastián de Erice. Cameraman 2nd unit: Luis Cuadrado. Production Manager: Jesus R. Folgar. Executive Producer: Gerardo Marote. 2nd Cameraman: Raul R. Cubero. Laboratories: Cinematiraje Riera. With the voices of: Maria Cuadra, Manuel Dicenta, Julia Gutierrez Caba, Carlos Lemos, Francisco Rabal, Fernando Rey, Paquita Rico, Jose Maria Rodero, Lina Rosales. Singer: Jarrito. Production: Eurofilms. Colour. 1964.

Comments referred to the film



“España Insolita, which I has viewed three times. It is a beautiful documentary and I think of great historical value. Probably it is not necessary to say that it would be impossible to do it at the present time. I like how the scenes develop along with the music and the sound accompaniment.




Magnificent, wonderful film, not only unusual but also insolent. Finally the violence and the imaginative strength of its mere view. An apocalyptic view, in the accurate interpretation of this word; it reveals a supernaturally Spain tending to local customs and manners. A realism not only magical and prodigious but explosive, even volcanic; whose affectionate aggressiveness jumps to our eyes like a cat, or better like a tiger…/… such a fiery and burning display of revealing pictures, so realistically ghostly, fantastic! This frightens us because of both their illusion and their anguish.




Javier Aguirre, in his first film, has marked a path- a grand route- to the Spanish cinematography. Until now, what had been done to illustrate our country through films? ... Nothing… Aguirre has entered Azorin’s dry and cold Spain, Unamuno’s illiterate, Baroja’s frugal and sceptic, Eugenio noel’s boorish and poor – well, poor according to everyone’s opinion-. What would have said those men, who intended to Hispanicize our sharp roots, in front of this mean of communication, in the 98 decade? I really think that España Insolita is worth a large amount of books… /… what a difference to see a film like this especially if compared to those filmed in Barcelona by some young Catalan producers, those who are influenced to the skin by French or Italian cinema! …/… If I had to choose a virtue I incline in favour of his sincerity. What a difference with “Mondo Cane” by Jacoppetti! Compared to MC hypocrisy and meanness, Aguirre shows an astonishing honesty, in front of the producer as facing the viewers. I think it has said a situation of a film is merely fictitious or has been re-enacted only a few times.




Undoubtedly, the most important documentary maker of the new generation is Javier Aguirre who has won several prizes with each of his short films. He is one of the most evident people connected to which has been said here about the expression through the time-image, in the new Spanish cinema. Aguirre is, mainly, a documentary maker of the current time… /… So, between both documentary foundational current by Robert Flaherty and by Dziga Vertov, Aguirre is positioned close to the last one, with a logical evolution due to the period and his personal point of view… / … The film is undoubtedly one of the most important and transcendental documentaries made in Spain and referred to Spain… / … in colour, really well filmed, with a few much extraordinary scenes, I think it is a basic work… /… That’s why it tackles directly the Spanish double face, towards essential and current matters. I have always held that every Spanish cinematographer before carrying out a work, even the easiest and happiest light comedy, should preview this film in order to confront the reality of the country he lives in: one, remote while the other contemporary, but both of them equally coexisting. He must know where he is, where he lives before making films in Spain.




The ethnographic trend of the Spanish cinema which relies on previous figures such as Buñuel was never exiled to the academic classes. The filmic codification of festivals and traditions dates back to the cinema origins in Spain and not only marks the documentary genre but also the fiction genre…/ … It was not about the message but about the filmic language, particularly if this one included experimental elements which dictated the fate of the film …/… Furthermore, the film showed a record for been running for more than a year, and raising 8-million pesetas. Everything drive us to conclude that “España Insolita” overtook in the viewers’ opinion, the limits between the documentary and the experimental film and was able to go beyond the niche part of the market reserved to non-fictional films… /… The unusual of this Spain re-created in the film was the miraculous cinematographic discovering of the darkest corners which could be seen in the grand screens of the metropolitan cinemas… /… España Insolita has been considered as an innovative thought on the Spanish piety.