What Are The Best Spanish Movies On Netflix?

By Jivika On Sep 13, 2022

Practicing vocabulary and listening skills by watching Spanish-language movies on Netflix is an excellent approach to improve your Spanish skills. You can also learn about other cultures and get a taste of different accents and vocabulary by watching Spanish films.

Netflix originals should remain available, but if you want to see the rest of the content, you should do so as soon as possible because licence arrangements eventually expire and stuff is removed. It has been found that watching a movie with subtitles in Spanish can help you learn the language more effectively.

Table of Contents

Best Spanish Movies On Netflix

Verónica

In the movie by Spanish director Paco Plaza, a teenage girl named Verónica (Sandra Escacena) holds a seance with her friends in the basement of her Catholic school while everyone else watches a solar eclipse outside. If you think this is a bad idea, you’re right, because instead of talking to her dead father, she ends up talking to a demon.

And one of the sequences that gets viewers saying “Nope” comes right after the séance, when Verónica’s mouth expands unusually wide, which is a common theme in more contemporary horror movies. It appears that the plot of the film is inspired, at least in part, by a true event that occurred in Madrid in the 1990s and was known as the Vallecas Case.

Estefania Gutierrez Lazaro, then aged 14, was said to have used a Ouija board when she was in school. Subsequently, she is said to have suffered from hallucinations and seizures before passing herself under strange circumstances in 1991. After she passed away, her parents asserted that they continued to be plagued by supernatural occurrences, such as the appearance of a gigantic figure in the hallway of their home.

the Fury of a Patient Man

A This revenge thriller from actor-turned-director Ral Arévalo was a big hit at film festivals in 2016. It stands out because of how well the actors play their roles. Jose (Antonio de la Torre) has been waiting for Curro’s (Luis Callejo) release from prison for robbing a jewelry store for eight years.

During that time, he has become friends with Curro’s girlfriend, Ana (Ruth Diaz). But it’s clear pretty quickly that he’s using Ana to get his own back, and the second half of The Fury of a Patient Man turns into a tense road movie.

Sex and Lucia

Lucia’s relationship with Lorenzo (Paz Vega) is built on a foundation of sex in this 2001 film, which serves as the cornerstone for their passionate connection (Tristan Ulloa). There’s a lot more to think about and uncover in Julio Medem’s romantic dramedy, though.

The Skin of the Wolf

The Skin of the Wolf is a stunningly photographed drama about a rough-hewn animal catcher (Mario Casas) who lives in an abandoned northeastern Spain outpost. Seeking personal fulfilment through the purchase of a strong bride, as was once typical, he discovers that the consequences can vary significantly and come at a high cost. Casas plays Martinon, a trapper who lives in the high isolation of the Spanish Pyrenees.

As he notes to a business associate on a pelt-selling trip into the nearby municipality, it provides for an honest, albeit rough, existence. In order to alleviate his growing sense of isolation, he marries Pascuala (Ruth Diaz), a woman he meets through Ubaldo (Armando Aguirre), just as hunters in the Spanish hinterlands did in the nineteenth century.

Sara’s Notebook

In the Spanish film Sara’s Notebook, protagonist Laura Alonso (Belén Rueda) sets off on a dangerous quest for her lost sister in the Democratic Republic of the Congo. The journey is set in the aftermath of her sister’s disappearance. It doesn’t take long for Laura’s dogged goal to become intertwined with the internal upheaval of the country.

According to the Council on Foreign Relations, warring factions fight with one another for minerals that are estimated to be worth 24 trillion dollars. As Laura travels deeper into the most war-torn section of Congo, Goma, she becomes accustomed to the brutality, ephemeral tranquilly, village raids, and homicide that are all too common there.

Amar

When we are first introduced to Laura and Carlos in the first episode of Amar in 2017, they are still at the stage of their relationship where they are experimenting and lusting for one another. It investigates the long pauses and profound glances that are characteristic of adolescent love, as well as what takes place when the harsh light of reality shines through.

The Invisible Guest

Oriol Paulo’s thriller attempts to solve a puzzle: Adrian, a well-to-do guy, wakes up next to his dead mistress’ body with no recall of what happened, and he is immediately accused of murder.

He’s teamed with an expert witness coach to help him get his narrative straight, but memories begin to reveal the flaws in his story. You’ll need to be ready for plot twists.

Adrián tells Virginia that he and Laura broke up months ago, but they got a call demanding that they bring €100,000 to a hotel in the middle of nowhere. Adrián was knocked out at the hotel, and when he woke up, Laura was dead in the bathroom. The door and windows were locked from the inside, so the police only had one suspect: Adrián.

Adrián then tells the story of when he said he was in Paris but was really with Laura in a cabin. As they drive back to Barcelona, Adrián swerves to avoid a deer and hits another car, which then hits a tree.

The people in the other car are not hurt, but the driver, Daniel Garrido, 23, who worked at a bank, is killed. Laura tries to convince herself that it’s not all their fault because Daniel was texting and wasn’t wearing his seat belt. When another car comes up behind them, Laura pushes Daniel’s body down across the passenger’s seat, and she and Adrián act like they are exchanging insurance information.

She acts like she answers Daniel’s phone when it rings to keep up the ruse, and the other driver leaves, thinking that she is telling the truth. Laura waits for a tow truck in Adrián’s car, which won’t start, while Adrián dumps Daniel’s car with his body in the trunk into a lake.

Palm Trees in the Snow

The relationship that Spain has had throughout its history with colonisation is investigated in this adaptation of Luz Gabas’ novel.

A young woman by the name of Clarence discovers proof that her elderly uncle Killian has been providing financial support to a family located on the island of Bioko in Africa, and she decides to look into the matter on her own.

The film is remarkable in terms of its aesthetics, and it outlines not only a connection that had to be concealed but also the culture of the day that made the secrecy of that relationship imperative.

Even the Rain

In this film about a film, Gael Garca Bernal and Luis Tosar star as director and producer, respectively. In Bolivia, the two men are attempting to develop a film on Christopher Columbus. However, things become problematic when they realise that one of their leaders is a devoted campaigner.

Even the Rain is concerned with narcissism and extremism as well as the meta-narrative of a film crew abusing villagers in order to make a film about Columbus.

7 años

7 Aos is a Spanish film directed by Roger Gual and written by Jose Cabeza. It was released in the United States under the title 7 Years. It was made available to the public on October 28th, 2016. The events of this film concentrate around four business partners who hire a mediator to help them decide who among them should serve time in prison for their involvement in illegal financial activity.

In an attempt to salvage their firm, four business partners must select which one of them will spend seven years in prison. Roger Gual’s 2016 Netflix original explores just how deep the bonds of friendship really go.

Tensions mount as they realise that time is not on their side, but the movie does an excellent job of fleshing out each of the four characters.

Conclusion

With Belle Epoque’s 1993 Oscar win, Fernando Trueba proved that Spanish filmmakers and the Spanish film industry could compete with Hollywood in international markets. However, in the early 1990s, other sirens could be heard, warning of the impending destruction of Spanish cinema.

Critic Romá Gubern wondered if he would be attending a burial rather than a celebration for Spain’s film industry’s centenary in 1995. In terms of both output and viewer numbers, the years 1993 to 1994 were probably the most difficult for Spain’s post-Franco film industry.