The best Ernesto Chao’s movies
Today we present the best Ernesto Chao’s movies. If you are a great movie fan, you will surely know most of them, but we hope to discover a movie that you have not yet seen … and that you love! Let’s go there with the best Ernesto Chao’s movies.
Divine Words
6.4/10
A work of Valle-Inclán, the story takes place in Galicia in the early twentieth century. To escape poverty, the wife of a sacristan uses a hydrocephalic child as a sideshow attraction. This causes a confrontation with her sister-in-law.
Death of a Fisherman
6.1/10
One morning, the body of a sailor is found lying on the beach, washed in by the tide.. With no witnesses or any sign of the dead man’s boat, Inspector Leo Caldas begins immersing himself in the town’s seafaring atmosphere as he endeavours to shed light on the crime. He finds himself among men and women who prefer not to reveal their suspicions to him. But a sudden discovery sets him off in an unexpected direction.
Breadcrumbs
6.9/10
When Liliana decides to return to Uruguay she will have to face up to a new dilemma, perhaps the last great dilemma of her life: To choose between supporting a collective case for female prisoners, raped during the time of the dictatorship, or to reconcile with her son and be able to live peacefully as a mother and a grandmother.
13 Curses
5.1/10
Jacobo is a young sculptor that returns to native city, Santiago of Compostela, to see his mother, locked up a psychiatric hospital for to kill to her husband, when he believed she dead years ago. To their arrival, visions of Mateo, his dead father eighteen years ago, begin to persecute to him, since his father died by shot gun, peculiarly, when thirteen peals sounded in the cathedral, fact what obsesses to Jacobo. After watching several times, Mateo convinces his son to make the work for the cathedral that his father couldn't finish in life, but what begins as a simple work becomes a madness spiral when Jacobo discovers the true intentions of the ghost of his father: to kill to his son to usurp his body to finish the statue, and after to return to the life.
The Witching Hour
6.1/10
When a group of gangsters sets out to retrieve a stolen gem, they run into some of the fiercest and most bloodthirsty minions hell has to throw at them, including demons, zombies and witches, all intent on stopping them by any means possible.
Huidos
4.9/10
Maria (and Everybody Else)
6.6/10
Ever since her mum died when she was fifteen, Maria has taken care of her father and her siblings. Responsible and in control, she's always been a rock for the family and feels proud of her efforts. That's why her father's sudden love for his nurse and the announcement of their marriage brings Maria's world crashing down around her. At the age of 35 and unable to find a steady partner, she'll have to take the plunge and dare to change her own fate.
The Frontier Law
6.2/10
Barbara, a journalist in the beginning of the 20th century, searches in the border between Portugal and Galicia a bandit called El Argentino. In her travel she meets two men that say that they belong to his gang.
O ouro do tempo
6/10
Lost in Galicia
5.8/10
La novia de medianoche
5.7/10
A wealthy woman twice widowed, lives with his family and two servants in a shady country house in Galicia in the late nineteenth century isolated from the world to hide a serious incident occurred in the family ten years earlier. This event is subject to certain blackmail the family of which will be released by the arrival at the mansion of two strangers who triggered the investigation of the facts and a change in the future family life.
Días de boda
5.5/10
Sonia, the daughter of a prominent publisher, is about to fulfill her lifelong dream of marrying Rosendo, a promising writer with homosexual tendencies, who pines for his fiancee far less than he does for the brand new literary award launched by his future father-in-law. The wedding shindig will bring its share of unexpected surprises. This is a film is part of the DOGME 95 Movement, described as follows: 'the goal of the Dogme collective is to purify film-making by refusing expensive and spectacular special effects, post-production modifications and other gimmicks. The emphasis on purity forces the filmmakers to focus on the actual story and on the actors' performances. Given these restrictions the story and the action of DIAS DE BODA ('WEDDING DAYS') seem much more immediate and the lapses in fluidity of the story can be forgiven - to a point.
