By 1968, Spain began to experience a slight relaxation of the film censorship laws that had been enforced under Francisco Franco’s dictatorship. This loosening allowed films like THE HOUSE THAT SCREAMED (1969) and THE MARK OF THE WOLFMAN (1968) to be produced; the former, despite being cut in Spain, became the highest-grossing Spanish film of its time. The success of these films marked the beginning of the golden age of Spanish B-movie horror, known as ‘Fantaterror,’ a term derived by THE MARK OF THE WOLFMAN star Paul Naschy. In his essay Fantaterror: Gothic Monsters In The Golden Age Of Spanish B-Movie Horror, 1968-80, Xavier Aldana Reyes notes that “Fantaterror was coined to refer to the Spanish answer to the type of violent and titillating films that have come to be known as ‘exploitation cinema’ within the European and American contexts.”
Although some directors from this period, such as Jesús Franco, Amando de Ossorio, and Narciso Ibáñez Serrador, have garnered acclaim and renewed interest among genre enthusiasts, many remain largely unknown. One such director, who is the focus of this retrospective, is Pedro Olea. Olea directed his first feature in 1968, the musical DAYS OF OLD COLOR, before venturing into the horror genre with arguably his most well-known film, THE FOREST OF THE WOLF (1970). Unlike many of his contemporaries, who relied on gore and excessive violence to frighten audiences, Olea adopted a more reserved and surreal Kafkaesque approach, partly to appease the censors.
In an interview with Nuestro Cine, he remarked on censorship and his films: “more indirect, subterranean, more through the tone of the films than the concrete situations they reflect.” This thoughtful approach allows him to blend foreboding atmospheres with themes of isolation and morality, evoking a profound sense of dread in his viewers. Olea’s emphasis on subtlety and nuance distinguishes his work from that of his peers, making him a unique voice in Fantaterror.
This March Spectacle proudly presents three of Olea’s best works THE FOREST OF THE WOLF, THE HOUSE WITHOUT FRONTIERS (1972) and IT IS NO GOOD FOR A MAN TO BE ALONE (1973).
THE FOREST OF THE WOLF
(EL BOSQUE DEL LOBO)
(THE ANCIENS WOODS)
dir. Pedro Olea, 1970.
Spain. 90 mins.
In Spanish with English Subs.
MONDAY FEBRUARY 3RD – 7:30PM
WEDNESDAY FEBRUARY 12TH – 10PM
MONDAY FEBRUARY 17TH – 10PM
FRIDAY FEBRUARY 28TH – 7:30PM
Benito Freire is a peddler who roams from village to village, selling his wares and delivering messages. Convincing himself that he is a werewolf, Benito lures unsuspecting victims into the woods under the guise of being needed in neighboring villages, leaving their families none the wiser.
Based on a novel by Carlos Martínez-Barbeito, THE FOREST OF THE WOLF (1970) is a loose adaption of the exploits of Spain’s first serial killer, Manuel Blanco Romasanta. After his arrest, Romasanta claimed that he was not responsible for the murders because he believed he was a werewolf. Although this claim was ultimately rejected, it did not prevent Romasanta from becoming a figure of Spanish folklore, known as the Werewolf of Allariz.
During the production of THE FOREST OF THE WOLF, Olea was forced to tone down the film’s violence and redact much of its religious iconography in an effort to appease censors. Despite these modifications, the film was still condemned by censors for its perceived anti-religious themes. Admiral Carrero Blanco even attempted to ban the film following a private viewing, highlighting the ongoing contentious relationship between filmmakers and censorship during this period in Spain.
Despite the cuts and toned-down nature of THE FOREST OF THE WOLF, Olea masterfully employs atmospheric storytelling to craft an eerie world steeped in superstition. In recent years, the film has garnered renewed interest amid the folk horror resurgence. Its woodland settings, themes of isolation and manipulation, and explorations of legend and religion position it firmly within the subgenre.
THE HOUSE WITHOUT FRONTIERS
(LA CASA SIN FRONTERAS)
dir. Pedro Olea, 1972.
Spain. 92 mins.
In Spanish with English Subs.
FRIDAY FEBRUARY 7TH – MIDNIGHT
SATURDAY FEBRUARY 15TH – 5PM
SUNDAY FEBRUARY 23RD – 5PM
FRIDAY FEBRUARY 28RD – MIDNIGHT
After moving to Bilbao in search of work, Daniel is approached by a member of the elusive organization known as The House Without Frontiers and tasked with tracking down one of its deserters. If he fails, he will face “The Only Penalty.”
Even with its anti-totalitarian themes, THE HOUSE WITHOUT FRONTIERS managed to evade Spain’s stringent censorship and was released uncut just three years before the end of the Francoist dictatorship in 1975. This is particularly remarkable given the parallels drawn between the film’s fictional cult, The House Without Frontiers, and the real-life organization Opus Dei, as explored in Jorge Pérez’s book, Confessional Cinema: Religion, Film, and Modernity in Spain’s Development Years, 1960-1975. Pérez highlights the connections between Daniel’s descent into madness and the experiences of former Opus Dei members, pointing out the retaliatory measures they faced. He states, “These activities appear to echo the hard-line proselytizing that Opus Dei members are compelled to carry out and the harsh treatment of dissenters and dropouts.”
One reason THE HOUSE WITHOUT FRONTIERS escaped censorship might be director Pedro Olea’s strategic decision to refrain from referencing Opus Dei in the film’s marketing. Additionally, the censorship board didn’t believe the film would have a wide enough appeal to reach the masses, despite its nomination (albeit unsuccessful) to represent Spain at the Academy Awards. Unfortunately, the board’s projections proved correct, as THE HOUSE WITHOUT FRONTIERS was a commercial flop and faded into obscurity.
Even today, THE HOUSE WITHOUT FRONTIERS remains largely underseen, often overshadowed by thematically similar Italian films like SHORT NIGHT OF GLASS DOLLS (1971) and ALL THE COLORS OF THE DARK (1972). Yet, with its haunting cinematography and strikingly decrepit locations in Bilbao, this film is deserving of a critical reexamination.
IT IS NOT GOOD FOR A MAN TO BE ALONE
(NO ES BUENO QUE EL HOMBRE ESTE SOLO)
dir. Pedro Olea, 1973.
Spain. 88 mins.
In Spanish with English Subs.
TUESDAY FEBRUARY 4TH – 10PM
SUNDAY FEBRUARY 9TH – 5PM
THURSDAY FEBRUARY 20TH – 10PM
FRIDAY FEBRUARY 28TH – 10PM
Martin loves his wife Elena very much. He combs her hair, cooks her meals, and never leaves her side. The only problem is she is a mannequin… and once the neighbor’s daughter discovers this dark secret, his world begins collapsing around him.
IT IS NOT GOOD FOR A MAN TO BE ALONE went unreleased until 1978, five years after its completion, due to censorship. During this period, another film focusing on a man’s obsession with a mannequin, LIFE SIZE (1974), was released in Spain. Unfortunately for Olea, the popularity and notoriety of LIFE SIZE overshadowed his work, even though Olea’s film has since proven to be more poignant and compelling.
It’s understandable that IT IS NOT GOOD FOR A MAN TO BE ALONE was banned when submitted to the Spanish censors, as it offers a critical commentary on the patriarchal structures of late Francoist society. During the early 1970s women started joining the labor markets of Spain, It was during this same period that feminists started questioning the patriarchal society and fighting for change. Olea encourages viewers to confront the realities of societal expectations thought-provoking narrative that reveals the complexities of loneliness and the construction of gender roles during Spain’s transition toward a more progressive future.