The actor Manolo Solo, one of the most versatile and solid performers in Spanish cinema, died this Thursday from cancer at the age of 62, according to the Spanish Film Academy. Solo won the Goya for best supporting actor in 2017 for the thrillerTarde para la ira, by Raúl Arévalo, and was also nominated as a supporting actor for El buen patrón, Cerrar los ojos and B, la película, and as a lead actor for Una finca portuguesa, for which he was also nominated for a Gaudí. A chameleon-like performer, he could disappear into his characters and navigate from comedy to drama with the security and solidity of gifted actors.

It has been difficult, but it seems that a certain consensus has been reached in considering that the so-called delinquency cinema It is one of the most reliable references for examining where Spain stood during the transition. That stark decline of the noir genre, narrated almost entirely in the first person by juvenile delinquents who blurred the lines between themselves and the alter ego that they embodied on screen, is the point of reference of Blows, the first feature film directed by Rafael Cobos, a regular screenwriter for Alberto Rodríguez.

In 2025, two films shot in urban peripheries, in communities existing on the economic, moral, and even aesthetic margins of modern society, coincided. On the one hand, there was José Luis Guerin's documentary—which won an award at the San Sebastián Film Festival— Stories from the Good Valley, set in the Vallbona neighborhood and, on the other hand, fiction City without sleep, which Guillermo Galoe from Madrid has filmed in Cañada Real, the largest informal settlement in Europewhere hundreds of families live just 15 kilometers from Madrid in shacks or houses without basic services – this has been going on for five years Some areas do not have electricity supply.