
¿Dónde estará mi niño?
1981

1982
Director
Rafael Romero Marchent
Runtime
95 minutes
Average Rating
No ratings yetSynopsis
Manolo Ortega is a tour guide in Granada and, at night, acting in a cave in Sacromonte. It has a small plot totally barren, and yet does not want to sell it to an American company for uranium prospecting. To convince, Spain bequeathed to Margaret, the director of the company. But before his stubborn refusal, decides encandilarlo. So, shake his friendship and he confesses that there is buried treasure that his ancestor discovered by a spell. Last movie starring Manolo Escobar.
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film follows conventional social structures typical of early 1980s Spanish commercial cinema. There is no indication of non-heteronormative identities or same-sex intimacy within the narrative.
Gender Representation
Margaret holds a position of professional authority as a company director. However, she primarily serves as an antagonist and a foil to the male protagonist rather than a character with independent agency.
Racial & Ethnic Diversity
Set in Granada's Sacromonte district, the film focuses on Spanish regional identity. The inclusion of an American character introduces a cross-cultural element within a standard local versus outsider framework.
Religious & Cultural Diversity
The plot emphasizes localism and the protection of ancestral land against foreign capitalism. It relies on folkloric elements like buried treasure and spells rather than systemic social critiques.
Disability Representation
There is no evidence of characters with visible or invisible disabilities in the film's documentation.
Strengths
Areas for Improvement
AI Analysis
Todo es posible en Granada is a traditional regional comedy that prioritizes star-driven performances and local charm over social complexity. The narrative centers on a classic conflict between regional identity and foreign corporate interests. While the film touches on the tension between heritage and industry, it lacks intersectional depth. It adheres to the commercial cinematic conventions of its era, focusing on folkloric tropes and established social hierarchies.

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