During II the Republic (1931-1936), it was tried to organize a reliable industry. In 1932 the Orphea studies and, in Valencia, the Cifesa society are created in Barcelona (Compañía Industrial Film Española, S.A.); in 1934, in Madrid, the studies CEA (Spanish and American Cinematography) and Filmófono are born, of the hand of Luis Buñuel, that tried to make commercial a cinema Spanish of quality. The first produced sonorous film in Spain was Carceleras (1932), of Jose Buchs. The productions of greater success returned to be those of thematic the topics before described: Nobility aragonese peasant (1935), of Florián Rey, or the verbena of the Dove (1935), Benito Perojo. During the Spanish Civil War, the industry returned to undergo a new stagnation, and the cinematographic productions had propagandistic aims.

With the beginning of the dictatorship of Francisco Franco in 1939 the cinema became an industry of support to the subject regime to an iron previous censorship. Luis Buñuel exile in Mexico, like some other outstanding figure of the rising industry, losing itself good part of the human and creative resources of means. During these years, the cinema specialized typically in consumption productions (musical and comedies).

Florián Rey follows with the costumbrismo in Clear Colored person (1936), to whom the religious sort with the sister will be added now San Sulpicio (1934) or the mies are much (1948), this one of Jose Luis Sáenz de Heredia, producer who takes to the cinema patriotic scripts, like Race (1941), on the figure of Franc. Another own sort of the period for the exaltación of the values of the Francoism is the picture of patriotic figures, in which Juan de Orduña specializes, emphasizing his works Madness of love (1948) and Dawn of America and the lioness of Castile, of 1951.

During the postwar period there was an attempt to make a cinema different, that exemplifies the comediógrafo Edgar Neville (the tower of the seven jorobados, 1944), who does not get to materialize. In the decade of 1950, under the influence of the Italian neorealism, critics begin to really appear works from the social point of view that, nevertheless, manage to pass the censorship; constructed films affluent but with unequal commercial luck are; among them it is possible to mention Furrows (1951), of Jose Antonio Nieves Conde, Welcome Mr. Marshall (1952), of Luis Garci'a Berlanga, or Comedians (1953), Death of a cyclist (1955) and High street (1956) of Juan Antonio Bardem; and even Histories of the radio (1955), own Jose Luis Sáenz de Heredia.

One of the greatest commercial successes of this time was the film of director Ladislao Vajda, Marcelino Pan and Vino (1954).

Other outstanding names of these generations are the scriptwriter Rafael Azcona and the producers Elías Querejeta and Andrés Vicente Go'mez. Azcona, satirical author whom the black humor cultivates and a costumbrismo that goes of the farce to the absurd surrealista, have worked as much with Italian Marco Ferreri (in its Spanish productions the pisito, 1958, or the small car, 1960), like with Luis Garci'a Berlanga, Carlos Saura, Prudent Jose Luis (the animated forest, 1987), Jose Luis Garci'a Sanchez (Divine words, 1987, or Sighs of Spain (and Portugal), 1995), Manuel Gutiérrez Aragón (the king of the river, 1994), Fernando Trueba (the year of the lights, 1986, and Belle Époque, 1992, Oscar to the best foreign film). All of them, in spite of the difference of thematic, year of production and styles, take unequivocal his impronta.