In where certainly being adopted by Spanish cinema

In a time
when Spanish artists, and the country itself, had more opportunities to speak
out about topics that had been censored for almost forty years, Camus directed,
and co-wrote alongside Antonio José Betancor, a film that represents both of
the crucial aspects of the country from 1939 to 1975: emigration and the
antifrancoist guerrilla. In other words, the director regains the losing side and
the ravages of Spanish Civil War; that is to say, those who were erased from
culture and society itself for thinking the opposite to the Francoist regime. The
director recovered the country’s recent memory in a film that talks about
Francoism from another perspective, from the angle of the opposition, and that frankly
considers itself “antifrancoist.” Hence, the
nation experienced its own awakening, rejecting to keep pretending and hiding
its own reality. At that time, the opposition fought for openness, as well
as criticism of recent history and those features where certainly being adopted
by Spanish cinema as many filmmakers took a chance on social change in the
content of their work. Through analysing Mario Camus’ Los días del pasado (1977) this paper aims to highlight Spain’s
change of paradigm during the country’s transition to democracy.