Madrid 1933. Aurora Rodriguez kills her daughter Hildegart and turn herself over to the police. In jail she remember the circumstances that made her committing the crime...

Vincent is recovering from a nervous breakdown in a seaside village on the Costa Brava. He enters into an affair with nightclub owner Jenny, but their relationship changes when she falls for alcoholic author Pascal Regnier, who is struggling to resume his writing career. Vincent eventually returns home, leaving Jenny to stay on with Pascal and his young son Daniel.

Eleven years ago Fernando Tobajas, a man of a certain age, decided to live in the bathroom, in which he created a small apartment, and never leaves it. Tobajas has given up everything except vanity, and his contacts with the world are reduced to visits from friends and messages sent through the toilet inside aspirin tubes in the hope that someone will receive them and know about his existence. Arabel Lee, a beautiful girl, finds one of those messages.

Catherine bears a strong resemblance to Silvia, daughter of a millionaire who has escaped with a bullfighter. A group of ruffians who intends to defraud the Silvia's father used to Catalina for their plans.

The plot narrates how a group of inseparable friends feel, suddenly, the urgent need to deceive each other with their respective wives. Ladies, attractive, intelligent and wealthy, decide to teach a lesson to the new "Don Juans".

Spain 1930s. A troupe of performers travel from city to city entertaining audiences and earning a living. The cast includes a magician, a ventriloquist, muscle men, dancers, singers and a full orchestra. The star of the show is Carmen Soler (Trini Alonso) a celebrated singer, now way past her prime, who refuses to retire gracefully and defends her stardom ruthlessly. On her shadow lives and works Ana Marques (Sara Montiel) a younger singer who dreams of the big time and patiently waits for her break.

Venice Film Festival 1951

María Morena is a 1951 Spanish drama film directed by José María Forqué and Pedro Lazaga. It was entered into the 1952 Cannes Film Festival.