Abstract
Abstract AMÓN jamón (1992) was the first and commercially most successful film of Bigas Luna’s ‘Trilogía Ibérica’, followed the next year by Huevos de oro and, finally, La teta y la luna (1995). The three films provide different but interconnected views of contemporary Spain: Jamón jamón is set in a rural area of Aragón; the central and longest part of the action of Huevos de oro takes place among the sky-scrapers of Benidorm, Spain’s most popular tourist resort on the Mediterranean; and the story of La teta y la luna is situated in a little village in the autonomous region of Catalonia. The films are, therefore, more consciously than, for example, those of Pedro Almodóvar, explicit attempts to present a cultural tapestry of Spain in the last decade of the twentieth century. In all three cases, the main emphasis is on gender relationships and sexuality.
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