The third millennium opened its door to a new generation of young Spanish filmmakers who are interested in contemporary themes. In addition, several older and more experienced filmmakers, who decided to change their creative direction and turn to realism, joined this new generation.

Angel Quintana, film critic and professor at the Gerona University, published an article about last year’s Spanish film production in the 'Film atlas' in the Cahiers du Cinema magazine. In it, he pointed out that the problems of Spanish cinema do not stem from the quality of its commercial products but rather in its attempts to renew its esthetic vision. These problems became apparent after Spanish filmmakers adopted the recycled esthetic conventions of Almodovar’s postmodernism that emerged from the margins of Madrid Movida. By accepting these conventions, the Spanish film industry showed its lack of interest in presenting reality. Realism was absent from all of the major works of the last decade. The leading cineastes, such as Alejandro Amenabar, Julio Medem and Alex de la Iglesia, made films that ran away from reality and its cultural references, falling deep into mannerism (the exception is Amenabar’s last film Mar adentro).
However, the third millennium opened its door to a new generation of young Spanish filmmakers who are interested in contemporary themes. In addition, several older and more experienced filmmakers, who decided to change their creative direction and turn to realism, joined this new generation. Their themes range from unemployment (Fernando Leon), to abuse of women and family violence (Iciar Bollain), as well as the unavoidable topic of politics (for example, the controversial documentary by Julio Medem La pelota vasca. La piel contra la piedra). It is worth noting that only a few female directors have managed to stand out in the Spanish film industry. Among these are the veteran Pilar Miro (El perro del hortelano), Manane Rodriguez (Retrato de mujer con hombre al fondo) and Silvia Munt, who has only occasionally stood behind the camera (Gala). Spanish contemporary film has never been very friendly toward female filmmakers. It is therefore somewhat ironic that the greatest “woman” of Spanish film is a man - Pedro Almodovar, whose melodramatic opus is characterized by his fascination with female themes. Nevertheless, Almodovar has left plenty of space for another director - Julio Medem (Amantes del círculo polar).
'It seems to me that all films about women are feminist, including those with Doris Day', said Almodovar. That is why his melodramas are luxurious film galleries of “crazy” women, in addition to being the ultimate recruiting machine for some of the greatest Spanish actresses; Assupmpta Serna (Matador), a dark lady with the manners of a murderer; Unfortunate Carmen Maura (Mujeres al borde de un ataque de nervios); Victoria Abril, wonderful in both Chanel and Gaultier (Kika); Tragic Marisa Paredes (Flor de mi secreto); Fragile Penelope Cruz (Todo sobre mi madre).
This program of contemporary Spanish films presents Spanish actresses that appeared outside of Almodovar’s circle, such as Mirabel Verdu (Carreteras secundarias) and Pilar Lopez de Ajala (Juana la Loca). To complete the list, this program only lacks the incredible Paz Vega, rising sexy star, who recently conquered Hollywood in James L. Brooks’s comedy Spanglish. These women carry great small stories and unrealized dreams on their shoulders. As the unforgettable Agrado said, “authentic are those who have come closest to the image of themselves as they appear in their dreams”. (Dragan Rubeša)