A Matadors Mistress (2008) Poster

A Matadors Mistress (2008)

  • Rate: 5.7/10 total 835 votes 
  • Genre: Biography | Drama | Romance
  • Release Date: 31 March 2010 (France)
  • Runtime: 92 min | Germany:115 min (European Film Market)
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A Matadors Mistress (2008)


A Matadors Mistress 2008tt0491046.jpg poster

  • IMDb page: A Matadors Mistress (2008)
  • Rate: 5.7/10 total 835 votes 
  • Genre: Biography | Drama | Romance
  • Release Date: 31 March 2010 (France)
  • Runtime: 92 min | Germany:115 min (European Film Market)
  • Filming Location: Alcoy, Alicante, Comunidad Valenciana, Spain
  • Budget: $28,000,000(estimated)
  • Director: Menno Meyjes
  • Stars: Adrien Brody, Penélope Cruz and Nacho Aldeguer
  • Original Music By: Dan Jones  Gabriel Yared   
  • Sound Mix: Dolby Digital
  • Plot Keyword: Manager | Fan | Religious Shrine | Horn | Religion

Writing Credits By:

    (in alphabetical order)

  • Menno Meyjes  writer

Known Trivia

    Goofs: Continuity: While in the car driving in the country the matador and his manager are talking about the three rules and the manager's cigarette switches sides of his mouth from shot to shot throughout the scene without the camera showing that he moved it in the previous shot.

    Plot: The film starts in the trip from Sevilla to Linares, where Manolete stops in Córdoba to see his mother. He will be remembering some passages of his life. Full summary » |  »

    Story: "A Matador's Mistress" is a tragically eloquent dance of the cold brutality of uncommitted love and the high stakes of the Bullfight. Immerse yourself in the culture of Spain surrounding the age old traditions of the Matador. While the bullfight is controversial by today's standards, the ancient art-form is depicted with unflinching realism. The story is of man against beast, the bullfighter's zen, if you will; his nightly dance with death. A world-class lover enters his world; their code is their truth. Life being lived, edgy, relentlessly flirting with disaster, untamed, beautiful.Written by Amanda Abernathy  

    FullCast & Crew

    Produced By:

    • Víctor Albarrán known as line producer
    • Carola Ash known as associate producer
    • Andrés Vicente Gómez known as executive producer
    • Andrés Vicente Gómez known as producer
    • Stephen Margolis known as executive producer
    • Albert Martinez Martin known as executive producer
    • Michael A. Pierce known as executive producer
    • Mark Williams known as executive producer

    FullCast & Crew:

    • Adrien Brody known as Manuel Rodríguez Sánchez "Manolete"
    • Penélope Cruz known as Lupe Sino
    • Nacho Aldeguer known as Luis Miguel Dominguín
    • Enrique Arce
    • Dritan Biba known as Critic
    • Pedro Casablanc
    • Antonio de la Fuente
    • Berta de la Dehesa
    • Juan Echanove known as Pepe Camará
    • Enrique Hernández
    • Luis Hostalot
    • Josep Linuesa known as Enrique de Ahumada
    • Javier Mejía
    • Ann Mitchell known as Doña Angustias
    • Denise Moreno
    • Natalia Moreno
    • Xabier Murua
    • Omar Muñoz known as Young Manolete
    • Pepe Ocio
    • Sergio Otegui
    • Tomás Pozzi
    • Quique
    • Santiago Segura known as Guillermo
    • Beatriz Webe known as Doble



    Supporting Department

    Makeup Department:
    • María Amaro known as assistant makeup artist
    • Marta Arce known as hair stylist reinforcement
    • Ainhoa Eskisabel known as assistant hair stylist
    • Juan Espinosa known as assistant makeup artist
    • Ana Lozano known as makeup artist
    • Mercedes Luján known as additional makeup artist
    • Iñaki Maestre known as makeup artist
    • David Martí known as special makeup supervisor
    • Diana Ortiz known as additional hair stylist
    • Diana Ortiz known as additional makeup artist
    • Antonio Panizza known as hair stylist
    • Eva Quilez known as assistant makeup artist
    • Gregorio Ros known as hair stylist
    • Sandra Tejedor known as makeup department
    • Arjen Tuiten known as special makeup effects artist: DDT

    Art Department:

    • Boris Fernandez known as art department
    • Laura Laviña known as assistant art director
    • Alejandra Loiseau known as set designer
    • Nieves Monterde known as assistant art director
    • Patricia Picazo known as art department assistant




    Production Companies:

    • Iberoamericana Films Producción
    • Future Films
    • Manolete Productions
    • Quinta Communications
    • Pierce/Williams Entertainment
    • e-m-s new media (in association with)
    • Trivisión S.L. (in association with)
    • Televisión Española (TVE) (with the participation of)
    • Canal+ España (with the participation of)
    • Ministerio de Cultura (with the support of)
    • Ciudad de la Luz (with the collaboration of)
    • Lolafilms (uncredited)
    • Sequence Film (uncredited)

    Other Companies:

    • Ciudad de la Luz  sound stages
    • Future Post Production  sound post-production
    • Pecera Estudio  post-production sound services
    • Tirelli Costumi  costumes by


    • G2 Pictures (2010) (UK) (all media)
    • Gravitas Ventures (2011) (USA) (video) (VOD)
    • 3L Filmverleih (2009) (Germany) (theatrical)
    • FS Film Oy (2009) (Finland) (theatrical)
    • Independent Films (2009) (Netherlands) (theatrical)
    • Ledafilms (2009) (Mexico) (theatrical)
    • Quinta Communications (2010) (France) (theatrical)
    • Eagle Pictures (2010) (Italy) (all media)
    • Lolafilms Distribución (2010) (Spain) (all media)
    • Odeon (2010) (Greece) (all media)
    • Television (2007) (Romania) (all media)
    • VVS Films (2010) (Canada) (DVD)
    • VVS Films (2010) (Canada) (all media)
    • Vision Film Distribution (2010) (Poland) (all media)
    • Viva Pictures (2011) (USA) (DVD)
    • Xenon Pictures (2011) (USA) (DVD)



    Other Stuff

    Visual Effects by:
    • Maria Aleman known as digital compositor
    • Juan Alonso known as digital effects artist
    • José Luis Aragón Moreno known as digital compositor
    • Abraham Diaz Parra known as paint/roto artist
    • Ricardo G. Elipe known as senior visual effects compositor
    • Belén Fuentes known as visual effects producer
    • Beatriz Gomez known as visual effects production assistant
    • Fernando Gonzalez known as digital effects artist
    • Miguel Angel Gómez known as visual effects producer
    • Jonathan Hills known as visual effects supervisor
    • Antonio J. Jimenez known as digital effects artist
    • Dani Kei V. Kaneda known as digital compositor
    • Quico Noizeux known as digital compositor
    • Ines Osoro Perez-Puchal known as paint/roto artist
    • Carlos Rubio known as digital compositor
    • Marta Velázquez known as digital compositor
    • Monica Verdu known as digital compositor
    • Monica Verdu known as title designer
    • Dani Villalba known as visual effects: INFINIA-BCN

    Release Date:

    • Canada 6 September 2008 (Toronto International Film Festival)
    • Germany 5 February 2009 (European Film Market)
    • Hong Kong 23 March 2009 (Hong Kong Filmart)
    • USA 4 November 2009 (American Film Market)
    • France 31 March 2010
    • Italy 14 May 2010
    • Spain 14 May 2010
    • Russia 3 June 2010 (DVD premiere)
    • Belgium 9 June 2010
    • Poland 28 June 2010
    • UK 23 August 2010 (DVD premiere)
    • Israel 23 December 2010
    • USA June 2011 (VOD premiere)
    • USA 7 June 2011 (video premiere)
    • USA 7 June 2011 (DVD premiere)
    • USA 7 June 2011 (re-release)
    • Japan 2 December 2011 (DVD premiere)



    Filmography links and data courtesy of The Internet Movie Database

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    Posted on March 30, 2012 by Harry in Movies | Tags: , , , .


    1. pzanardo (pzanardo@math.unipd.it) from Padova, Italy
      30 Mar 2012, 6:51 pm

      Since, after all, a movie is meant to be seen by an audience, I don'tget what the director Meyjes expected from his work "Manolete".

      Indeed, the "aficionados" (i.e. corrida-lovers) can only feel outragedby the huge amount of falsities and distortions, concerned with bothlife and personality of the actual Manolete, that one finds in themovie. On the other hand, the large majority of people, beingcorrida-haters, will be uninterested, if not deeply bored, by astraightforward love story of a torero and his mistress, worth of acheap XIXth century novel. (The actual love story of Manolete and LupeSino was much more psychologically intriguing than the stuff shown inthe movie.)

      Speaking of the movie, the photography is fine, and the costumes arebeautiful. The jobs of Brody as the torero and Penelope Cruz as LupeSino are acceptable. There is some very short but interesting 1940sfootage of the true Manolete fighting in the plaza de toros. However,the film badly fails in recreating the atmosphere of Spain in the yearsafter the civil war.

      Indeed, the inaccuracies of the movie are really dismaying. Lupe Sinois surprised seeing that a torero wears pink socks. C'mon! It's likeshowing a young American woman not knowing that football players wearhelmets! Manolete enters a crowded hall, participates to parties, andeverybody ignores him. C'mon! It's like seeing Michael Jordan unnoticedat a meeting of basketball fans! Manolete's popularity was literallyunbelievable all over the world, among common people, as well as amongbig time politicians and major cinema stars, that fought to have him attheir social events. A couple of instances. When Manolete died, WinstonChurchill sent a personal message of condolence to his mother. TheMexican government was forced to cut some scheduled corridas, sincepeople didn't buy food to save money for the tickets of Manolete'sbullfights (source: "Time Magazine" year 1946).

      The movie also contains a number of so obvious clichés, like thetorero's greedy relatives, or the fatuous and hypocritical catholicpriests, or the incompetent doctors (this latter a really dirtyslander!), etc. Of course, to know something of the actual Manolete,you have to neglect the character shown in the movie, and rather readsome of the dozens of books dedicated to him, even in very recentyears. Indeed, I bet that in this very moment someone is writing a bookon the legendary torero.

      The portrait made of Lupe Sino is liable of aggravated defamation.Forget that Lupe was much younger and more beautiful than Cruz, andthat, obviously, she was an aficionada, contrary to the character ofthe movie. Forget that Lupe was a smiling, sweet-tempered, cheerfulgirl, deeply in love with her man, contrary to the perpetual ferociousgrudge against everybody and everything shown by Cruz's "Lupe". What isunacceptable is that the film- maker turns her into an unfaithful,spiteful, foul-mouthed bum.

      As far as I know, the movie "Manolete" was badly unsuccessful, aspredictable. I didn't like it.

    2. Tony Heck from United States
      30 Mar 2012, 6:51 pm

      "I'm just your mistress, Death is your wife." A true story about thelove between Matador Manolete (Brody) and the woman he falls in lovewith Lupe Sino (Cruz). When aging bullfighter Manolete is told that ayounger matador is as good or better then he is, he begins to try andcheat death even more. Will the love of Lupe help him in the ring, orendanger him? This is another very slow moving movie. The acting isvery good and the scenery and bullfights are fun to watch and look at,but it just doesn't really seem to go anywhere sometimes. This movie isat its core a love story, mixed in with the action of the bullfight.There is actual footage of the real Manolete mixed in with the filmedscenes that is a very nice touch and adds to the experience. Notknowing anything about the real people or story I have no idea howaccurate this is, but the love at times is tested to the limits.Overall I would say this is more of a movie that women will enjoy morethen men, but it's not a horrible thing to have to sit through. I havesat through much, much worse. A very OK movie, nothing to special. Igive it a B-.

      Would I watch again? – I don't think I will.

    3. from Canada
      30 Mar 2012, 6:51 pm

      Remembered as one of the world's greatest matadors, I thought thatthere might be some clues into this person, or into what might drawsomeone to the controversial world of the bullring. Instead the storymade Manolete out to be a love-sick puppy, somewhat clueless, andfocused entirely on dying. (Don't know if this is really a spoiler,since the film begins with his funeral.)

      The cinematography is beautiful. The acting itself is good, and AdrianBrody is a scary dead-ringer, so to speak, for the man himself.Penelope Cruz is also good as the passionate temptress. Hollywood, ofcourse, has to focus entirely on the woman's figure, and the turbulentromance, at the exclusion of all else that probably made up what was afascinating life.

      I wouldn't watch it again.

    4. alison-868-991935 from Vancouver Canada
      30 Mar 2012, 6:51 pm

      Nice costumes and great actors do not make a movie great. A good storydoes. Too bad the original writer, Bill Crown, was bumped out of theprocess by those who hijacked the project. I guess Karma decided thefate of the film.

      1200 pages of research were prepared but obviously not used. This is astory about a real man living in real times. Taking poetic liberties isfine, but there has to be authenticity for a film like this to work.

      Brody hot off his Oscar was perfectly suited to the role. PenelopeCruise, wisely selected as the love interest also internationallyrecognized, should have brought forth faithful followers. A formulathat would have worked had not the intentions of the story been skewedso far off mark.

    5. jfcornell from United States
      30 Mar 2012, 6:51 pm

      "Matador's Mistress" might be profitably viewed – and not so easilyunderestimated – if we try to see it as a work of art in its own right,that is, as much more than a dramatic tribute to the legendarybull-fighter Manolete or a cinematic rendering of his great passion forLupe. Manolete's tale has been elevated to an archetypal tragedy ofLove-Death. Director Meyjes has put right under our noses the madmechanics of our wildest dream, in full confidence that it willfascinate romantic viewers without their fully registering what's goingon.

      But the clues to a psychological study of machismo are all here. Whyelse does the film open with the brazen insult that Lupe has scrawledin lipstick on Manolete's mirror, an act of humiliation, ripping intoher lover's essential wound? And why does it alternate, sosuggestively, the scene of Manolete's and Lupe's love-making with thatof the fight in which Manolete daringly caresses the bull? AndManolete's relation to his mother, plainly making Lupe her surrogate?This romance turns on the little secret that he gives up in his sexualclimax, in the little death that secretly prepares the viewer for hislast words. Whatever the historical relationship between these lovers,it has been taken up artfully into an exploration of the matador'spsyche, and by extension, the psyche of Spain.

      Lupe plays a cruel game with Manolete, because the psychic roots of hisdevotion are so exposed, more than any woman wants to see. Yet the filmasks: is there ever any other source of obsession with Woman? Lupe canonly despise Manolete, even as she is ravished by him. Such a love canonly find one resolution.

      A genuine work of art.

    6. thehemptress from Southeast, United States
      30 Mar 2012, 6:51 pm

      I guess I'm just a sucker for a sappy romance, period piececombination. The whole movie is beautiful to look at even if you haveto rewind a few times to understand what is being said because they arein Spain speaking English. I do not understand why this movie receivedsuch little publicity. I had never heard of it before I saw it in theRedbox, and I'm glad I rented it. I'm not trying to spoil the movie foryou, but be warned the life of a Matadors mistress is a stressful one.ha The whole movie centers around the romance between the Matador andhis mistress. She is his mistress, but not because he is married toanother woman. You will understand once you watch the movie. Anyway tosum up, if you hate somewhat historical, sappy romances don't watchthis one.

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