The art of motion-picture making within the nation of Spain or by Spanish filmmakers abroad is collectively known as Spanish Cinema.
In recent years, Spanish cinema has achieved high marks of recognition as a result of its creative and technical excellence. In the long history of Spanish cinema, the great filmmaker Luis Buñuel was the first to achieve universal recognition, followed by Pedro Almodóvar in the 1980s. Spanish cinema has also seen international success over the years with films by directors like Segundo de Chomón, Florián Rey, Luis García Berlanga, Carlos Saura, Julio Medem and Alejandro Amenábar. Woody Allen, upon receiving the prestigious Prince of Asturias Award in 2002 in Oviedo remarked: When I left New York, the most exciting film in the city at the time was Spanish, Pedro Almodovar's one. I hope that Europeans will continue to lead the way in film making because at the moment not much is coming from the United States."
Non-directors have obtained less international notability. Only the cinematographer Néstor Almendros, the actress Penélope Cruz and the actors Fernando Rey, Antonio Banderas, Javier Bardem and Fernando Fernán Gómez have obtained some recognition outside of Spain. Mexican actor Gael García Bernal has also recently received international notoriety in films by Spanish directors.
Today, only 10 to 20% of box office receipts in Spain are generated by domestic films, a situation that repeats itself in many nations of Europe and the Americas. The Spanish government has therefore implemented various measures aimed at supporting local film production and movie theaters, which include the assurance of funding from the main national television stations. The trend is being reversed with the recent screening of mega productions such as the €30 million film Alatriste (starring Viggo Mortensen), the Academy Award winning Spanish/Mexican film Pan's Labyrinth (El Laberinto del Fauno), Volver (starring Penélope Cruz), and Los Borgia (€10 million), all of them sold-out blockbusters in Spain.
Another aspect of Spanish cinema mostly unknown to the general public is the appearance of English-language Spanish films such as The Machinist (starring Christian Bale) The Others (starring Nicole Kidman), Basic Instinct II (starring Sharon Stone), and Milos Forman's Goya's Ghosts (starring Javier Bardem and Natalie Portman). All of these films were produced by Spanish firms. This attests to the dynamism and creativity of Spanish directors and producers. (More on this below.)

Cinema of Albania
Cinema of Armenia
Cinema of Austria
Cinema of Azerbaijan
Cinema of Belgium
Cinema of Bosnia-Herzegovina
Cinema of Bulgaria
Cinema of Croatia
Cinema of Cyprus
Cinema of the Czech Republic
Cinema of Denmark
Cinema of Estonia
Cinema of the Faroe Islands
Cinema of Finland
Cinema of France
Cinema of Georgia
Cinema of Germany
Cinema of Greece
Cinema of Hungary
Cinema of Iceland
Cinema of Ireland
Cinema of Italy
Cinema of Latvia
Cinema of Lithuania
Cinema of Luxembourg
Cinema of Montenegro
Cinema of the Netherlands
Cinema of Norway
Cinema of Poland
Cinema of Portugal
Cinema of Romania
Cinema of Russia

• Cinema of the Russian Empire
  Cinema of Serbia
  Cinema of Slovakia
  Cinema of Slovenia
  Cinema of the Soviet Union
  Cinema of Spain
  Cinema of Sweden
  Cinema of Switzerland
  Cinema of Turkey
  Cinema of the UK
  Cinema of Ukraine
  Cinema of Yugoslavia Origins
  In 1914, Barcelona was the center of the nation's film industry. The españoladas (historical epics of Spain) predominated until the 1960s. Prominent among these were the films of Florián Rey, starring Imperio Argentina, and the first version of Nobleza Baturra (1925). Historical dramas such as Vida de Cristóbal Colón y su Descubrimiento de América (The Life of Christopher Columbus and His Discovery of America) (1917), by the French director Gerald Bourgeois, adaptations of newspaper serials such as Los misterios de Barcelona (The Mysteries of Barcelona) starring Joan Maria Codina (1916), and of stage plays such as Don Juan Tenorio, by Ricardo Baños, and zarzuelas (comedic operettas), were also produced. Even the Nobel Prize-winning playwright Jacinto Benavente, who said that "in film they pay me the scraps," would shoot film versions of his theatrical works.
  In 1928, Ernesto Giménez Caballero and Luis Buñuel founded the first cine-club (film society), in Madrid. By that point, Madrid was already the primary center of the industry; 44 of the 58 films released up until that point had been produced there.
  The rural drama La aldea maldita (The Cursed Village) (Florian Rey, 1929) was a hit in Paris, where, at the same time, Buñuel and Dalí premiered Un chien andalou (An Andalusian Dog). Un chien andalou has become one of the most well-known avant-garde films of that era.
  
  The height of silent cinema
  By 1931, the introduction of audiophonic foreign productions had hurt the Spanish film industry to the point where only a single title was released that year.
  In 1935, Manuel Casanova founded the Compañía Industrial Film Española S.A. (Spanish Industrial Film Company Inc, CIFESA) and introduced sound to Spanish film-making. CIFESA would grow to become the biggest production company to ever exist in Spain. Sometimes criticized as an instrument of the right wing, it nevertheless supported young filmmakers such as Luis Buñuel and his pseudo-documentary Las Hurdes: Tierra Sin Pan (Breadless Land). In 1933 it was responsible for filming 17 motion pictures and in 1934, 21. The most notable success was Benito Perojo´s La verbena de la paloma (The Dove's Verbena). By 1935 production had risen to 37 films.
  
  The crisis of sound
  Around 1936, both sides of the Civil War began to use cinema as a means of propaganda and censorship. A typical example of this is Luis Buñuel's España 1936, which also contains much rare newsreel footage. The pro-Franco side founded the National Department of Cinematography, causing many actors to go into exile.
  The new regime then began to impose obligatory dubbing to highlight directors such as Ignacio F. Iquino, Rafael Gil (Huella de luz (1941)), Juan de Orduña (Locura de amor (1948)), Arturo Román, José Luis Sáenz de Heredia (Raza (film)) (1942)) with scripts of Franco's and Edgar Neville's. They also began to highlight Fedra (1956), by Manuel Mur Oti.
  For its part, Marcelino, pan y vino (Marcelino, Bread and Wine) (1955) from Ladislao Vajda would trigger a trend of child actors, such as those who would become the protagonists of "Joselito," "Marisol," "Rocío Durcal" or "Pili y Mili."
  Finally, in the 1950s, the influence of Neorealism became evident in the works of new directors such as Antonio del Amo, Arturo Nieves Conde, Juan Antonio Bardem, and Luis García Berlanga. In the conversations of Salamanca, Juan Antonio Bardem summed up cinema of postwar Spain in a manifesto that has become famous for its harshness: "Real Spanish cinema is politically inefficient, socially false, intellectually infirm, aesthetically void and industrially weak."
  Juan de Orduña would later have an enormous commercial hit with El Último Cuplé (The Final Variety Song) (1957), with leading actress Sara Montiel.
  Buñuel sporadically returned to Spain to film the shocking Viridiana (1961) and Tristana (1970), two of his biggest films.
  
  The Civil War and its aftermath
  In 1962, José María García Escudero became the Director General of Cinema, propelling forward state efforts and the Escuela Oficial de Cine (Official Cinema School), from which emerged the majority of new directors, generally from the political left and those opposed to the Franco dictatorship. Among these were Mario Camus, Miguel Picazo, Francisco Regueiro, Manuel Summers, and, above all, Carlos Saura. Apart from this line of directors, Fernando Fernán Gómez made the classic El extraño viaje (The Strange Trip) (1964). From television came Jaime de Armiñan, author of Mi querida señorita (My Dear Lady) (1971).
  From the so-called Escuela de Barcelona, originally more experimentalist and cosmopolitan, come Vicente Aranda, Jaime Camino, and Gonzalo Suárez, who made their master works in the 1980s.
  The San Sebastian International Film Festival is a major film festival supervised by the FIAPF. It was started in 1953, and it takes place in San Sebastián every year. Alfred Hitchcock, Audrey Hepburn, Steven Spielberg, Gregory Peck, Elizabeth Taylor are some of the stars that have participated in this festival, the most important in Spain and one of the best cinema festivals in the world.
  The Festival de Cine de Sitges, now known as the Festival Internacional de Cinema de Catalunya (International Film Festival of Catalonia), was started in 1967. It is considered one of the best cinematographic contests in Europe, and is the best in the specialty of science fiction film.
  
  The new Spanish cinema
  With the end of dictatorship, censorship was greatly loosened and cultural works were permitted in other languages spoken in Spain besides Spanish, resulting in the founding of the Catalan Institute of Cinema, among others.
  At the beginning, the popular phenomena of striptease and landismo (from Alfredo Landa) triumph. During the democracy, a whole new series of directors base their films either on controversial topics or on revising the country's history. Jaime Chávarri, Víctor Erice, José Luis Garci, Manuel Gutiérrez Aragón, Eloy de la Iglesia, Pilar Miró and Pedro Olea were some of these who directed great films. Montxo Armendáriz or Juanma Bajo Ulloa's "new Basque cinema" has also been outstanding; another prominent Basque director is Julio Medem.
  The Spanish cinema, however, depends on the great hits of the so-called Madrileño comedy by Fernando Colomo or Fernando Trueba, the sophisticated melodramas by Pedro Almodóvar, Alex de la Iglesia and Santiago Segura's black humour or Alejandro Amenábar's works, in such a manner that, according to producer José Antonio Félez, "50% of total box office revenues comes from five titles, and between 8 and 10 films give 80% of the total" during the year 2004.
  On the other hand, Spanish pornographic cinema has flourished in the city of Barcelona; one of its stars is Nacho Vidal.
  In 1987, a year after the founding of the Academia de las Artes y las Ciencias Cinematográficas de España, the Goya Awards were created to recognize excellence in many aspects of Spanish motion picture making such as acting, directing and screenwriting. The first ceremony took place on March 16, 1987 at the Teatro Lope de Vega, Madrid. The ceremony continues to take place annually around the end of January, and awards are given to films produced during the previous year. The award itself is a small bronze bust of Francisco de Goya created by the sculptor José Luis Fernández.
  
  The cinema of the democratic era
  Spanish newspaper El Mundo recently took notice of a phenomenon little-known to general audienes when it wrote: "A new style of producing has been created in our country. world-class stars, English-language shoots and big budgets. Production companies like KanZaman are currently involved in various ambitious projects that import the ways and customs of Hollywood to our industry." English language Spanish films produced by Spanish companies include The Machinist (starring Christian Bale), The Others (starring Nicole Kidman), Basic Instinct II (KanZaman, Spain) (starring Sharon Stone), and Milos Forman's Goya's Ghosts (Xuxa Produciones, Spain) (starring Javier Bardem and Natalie Portman), Two Much (starring Antonio Banderas, Melanie Griffith.
  KanZaman (Spain) and Recorded Picture Company (UK) co-produced Sexy Beast (starring Ben Kingsley) in 1999. Other films co-produced by KanZaman include: The Reckoning (starring Paul Bettany and Willem Dafoe); The Bridge of San Luis Rey, based on the Pulitzer prize winning Thornton Wilder novel of the same name and starring Robert de Niro, Harvey Keitel, Kathy Bates and Pilar Lopez de Ayala; Mike Barker's A Good Woman (starring Helen Hunt and Scarlett Johansson), and Sahara (starring Mathew McConaughey and Penélope Cruz). In 2004, KanZaman established Reino del Cielo s.l. through which it co-produced Ridley Scott's epicKingdom of Heaven (starring Orlando Bloom and Liam Neeson), making it the biggest production in the history of Spanish cinema.