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Spanish cinema during the transition to democracy developed a series of policies on memory with the aim of proposing a revision of the official history that had been established under Franco. Spain is now at a point in history when many of the policies of the transition are in crisis and when approaches to historical memory have begun to question what the transition concealed as a result of its pact of silence. This article offers an analysis of a series of films produced between 2002 and 2on that open up a new debate on historical memory. Most of these films return to the Spanish Civil War to tell stories that had been hitherto concealed, such as the brutal repression in Franco's prisons. Drawing from some of the ideas set forth by Tzevan Todorov regarding the abuses of memory, this article attempts to analyse the new discourses being developed about the past and the way in which they attempt to establish new connections with the political reality of the present.

<p>El presente texto plantea una reflexión sobre el cine de los orígenes, fijándose en el modelo que dio lugar al cine de actualidades, el antecedente de los noticiarios. La actualidad entendida no sólo como un cine a la búsqueda de documentar lo real sino como un modelo que pretendía atrapar aquello que era o se convertiría en acontecimiento. El texto también plantea la diferencia entre “atracción” y “actualidad”, para concluir que la actualidad surge de una serie de construcciones encaminadas a transformar factores de impacto social, como los elementos que configuraban la crónica de sucesos, o elementos de propaganda política en un acontecimiento.</p>

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