Abstract
This article reads Luis García Berlanga’s Patrimonio nacional as a critique of the recently restored Spanish monarchy. The film constructs an allegorical relationship between Luis José de Leguineche’s character and Juan Carlos, positioning him as a grotesque double of the King that parodically inverts common tropes about the ruler and highlights biographical details that had been disremembered or concealed in the interest of crafting his public image. Thus, Berlanga’s work dismantles the perception of Juan Carlos as an avatar of democracy and modernity, contesting his participation in the Transition and anticipating in 1981 what is known about him in 2023.
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