Another important line of authors from 1960 is the arisen one in the School of Barcelona, that was characterized by its proposal of open and innovating narrative structures. Between the film directors who still follow in active-duty honor Gonzalo Suárez (Ditirambo, 1967, or the detective and the death, 1994) and Vicente Aranda (the Lute, walks or bursts, 1987, or Lovers, 1991), producers that on the other hand maintains among them few elements in common.

During the political transition and the immediately later years, a style of reflection cinema began on the Civil War, the postwar period and the life during the Francoism, in which the denunciation, the satire and nostalgia, as they show to the productions the long vacations of the 36 (1975) or the long winter (1991), of Jaime are combined Way; The bicycles are for the summer (1983), of Jaime Chávarri, on theater work of Fernando Fernán Go'mez; Pending subjet (1977) and To return to begin (1982), Oscar to the best foreign film, of Jose Luis Garci; The innocent beehive (1982) and saints (1984), of Mario Camus; The year of the lights (1986), Fernando Trueba; The heifer (1984), of Luis Garci'a Berlanga; or Ay, Car it to me! (1990), of Carlos Saura.

Although the authors of this generation have touched other subjects, their unequal success has done that from the commercial point of view, except for very counted exceptions (they emphasize isolated cases, like the one of Amanece, that is not little, 1988, of Jose Luis Prudent), the Spanish cinema of the decade of 1980 has not obtained great profits had, partly, to their excessive dependency of the public subventions. Consequently, the outer commercialization has been minimum, and the doubled foreign production, specially the American, has continued predominating inside even of the national market.

Under protection of the contracultural movement of the decade of 1980, specially in Madrid and Barcelona, arose a new cinema from provoking pretensions, at first with minority vocation, but that later has turned out to be very fruitful from the commercial point of view. Within this current there is outstanding, mainly, Pedro Almodóvar and, in one more a more conventional line, also the producing Fernando Colomo. In Barcelona, between the most well-known figures is Bigas Moon with Bilbao (1978), the ages of Lulu (1990) or Jamón, jamón (1992).

Lately, it has arisen a movement from new producers who share the eagerness to arrive at the great public, with a ampler thematic rank and one more a more agile narrative. Between the directors who share these objectives are, among others, Juanma Under Ulloa (Wings of butterfly, 1991, the died mother, 1993, and Airbag, 1997), Alex of the Church (mutant Action, 1992, the day of the beast, 1995, and the community, 2000), Julio Médem (Cows, 1992, the red squirrel, 1993, and the lovers of polar circle, 1998), Mariano Barroso (My brother of the soul, 1993, and Kasbah, 2000), Icíar Bollaín (Hello, you are single? , 1995), Agustín Diaz Yanes (Nobody will speak of us when there are dead, 1995), Alexander Amenábar (Thesis, 1996, and the others, 2000), Fernando Leon de Aranoa (Family, 1996), Safe Santiago (Torrent, the idiot arm of the law, 1998) and Benito Zambrano (Single, 1999). Outside the conventional commercial circuits the work of Jose is located Luis Guerín, film author of documentary cut like In construction (2001).