Abstract
A recent trend in Spanish documentary films is to recover the memory of generation which is progressively disappearing. Among these filmic exercises, signed in most cases by filmmakers born during the first years of the Spanish democracy, some use personal letters written by the victims of the Civil War and the Francoist Dictatorship as its main narrative focus. These missives are represented as legacies which the filmmakers employ to establish an impossible dialogue with the deceased author. This dialogue allows the filmmakers and the audience to delve into either the family’s memories or the collective memories of the years marked by totalitarian terror and violence. This article deals with the next films: Pepe el andaluz (Alejandro Alvarado y Concha Barquero, 2012), El gran vuelo (Carolina Astudillo, 2014) and Cartas a María (Maite García Ribot, 2015). We aim at reflecting on the subjectivities created through these epistolary dialogues and to reflect on the ways in which, through these letters, it is possible to vindicate the neglects of Spanish History.
