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Thesis (1996 film)
View on Wikipedia| Thesis | |
|---|---|
Poster | |
| Spanish | Tesis |
| Directed by | Alejandro Amenábar |
| Screenplay by | Alejandro Amenábar |
| Story by |
|
| Produced by |
|
| Starring | |
| Cinematography | Hans Burmann |
| Edited by | María Elena Sáinz de Rozas |
| Music by | Alejandro Amenábar |
Production companies | |
| Distributed by | United International Pictures[1] |
Release date |
|
Running time | 125 minutes |
| Country | Spain |
| Language | Spanish |
| Budget | €721,214 |
| Box office | 134 million ₧ (Spain)[2] |
Thesis (Spanish: Tesis) is a 1996 Spanish horror-thriller film. It is the feature debut of director Alejandro Amenábar and was written by Amenábar and Mateo Gil. It stars Ana Torrent, Fele Martínez and Eduardo Noriega. The film won seven Goya Awards, including Best Film, Best Original Screenplay and Best Director.
Plot
[edit]In November 1995, Ángela, a university student in Madrid, is planning to write a thesis on audiovisual violence and the family. Her commuter train is evacuated after a man commits suicide by jumping in front of the train. While being led out of the station, Ángela moves toward the tracks in an attempt to see the man's remains.
At her school, Ángela asks her thesis director, Professor Figueroa, to help her find the most violent films in the school's library, and seeks out a fellow student, Chema, who is known for collecting violent and pornographic videos. While Ángela watches a violent film with Chema, Figueroa finds a tape hidden in the school's audiovisual archives. The next day, Ángela finds Figueroa dead of an apparent asthma attack in the screening room and retrieves the tape. A younger professor, Castro, takes over the supervision of Ángela's thesis project.
At Chema's house, Ángela discovers the stolen tape is a snuff film in which a woman is tortured, killed, and disemboweled. Chema recognizes the victim is a student from their university named Vanessa, who went missing two years previously. He is able to determine that the killer used a specific model of Sony camera with a digital zoom feature, and that the film was shot in someone's garage.
At the library, Ángela sees a handsome young man named Bosco using the type of camera Chema identified. When she leaves, he pursues and catches up to her. Bosco notices that Ángela has newspaper clippings about Vanessa's disappearance and states that he has information about the case. Ángela pretends she is filming a report about the disappearance and asks to interview Bosco about it. In the interview, Bosco insists that Vanessa must have run away with a boyfriend because she sent a note to her family saying that she was in love. Ángela is willing to accept Bosco's innocence, but Chema tells her that he is a psychopath.
Once home, Ángela realizes that Bosco is inside the house waiting for her. Although she is initially frightened, Bosco charms her family and they invite him to stay for dinner. Once alone, Bosco attempts to seduce Ángela but she resists his advances. At the school, Chema asks a security guard to see the security tape of the video library on the night of Figueroa's death. That night, Ángela has a dream that Bosco threatens her with a knife, performs oral sex on her while videotaping it, and then stabs her.
Castro questions Ángela about Figueroa's death, showing her security footage of her discovering the body and taking the videotape. As Ángela is about to admit why she took the tape, Chema calls and tells her to leave Castro's office immediately, saying that he is involved in the snuff film. Castro fails to catch Ángela as she flees his office.
Bosco's girlfriend, Yolanda, confronts Ángela and explains that she, Vanessa, Bosco, and Chema, who was once a friend of Bosco, had gone to a series of director's workshops with Castro two years previously. Yolanda states that she left when they made Vanessa take off her clothes for a short film, that Chema was obsessed with snuff films, and that she believes he killed Vanessa after the workshop ended. Later, Chema admits to Ángela that he knew Bosco, but claims he also left the workshop when things got out of hand.
At night, Chema shows Ángela a hidden tunnel he has discovered in the school's video library. In a room off the tunnel, they find shelves of video tapes like the one of Vanessa, indicating that many other women may have been murdered in other snuff films. Suddenly the door to the tunnel closes and they are locked inside. Fearing they will be killed, Chema and Ángela walk further into the tunnel with only matches to light their way. They find an editing room where they fall asleep in each other's arms.
When Ángela wakes, the lights have come back on and Chema is gone. She walks through a doorway and is chloroformed. She awakens tied to a chair facing Castro, who is videotaping her. Castro tells her that he only edited the snuff videos and did not murder anyone, but that he has to kill her and that her death will be painless and much quicker than Vanessa's. As he aims a gun at Ángela's head, Chema appears and wrestles with him. The gun goes off, killing Castro. Ángela and Chema escape. Once at her house, Ángela's father tells her that her sister, Sena, is at a party with Bosco. Terrified, Ángela hurries to the party. Once there, Sena refuses to leave with Ángela, insisting that Bosco is in love with her. In order to persuade her sister to leave, Ángela approaches Bosco and passionately kisses him.
The next day, Ángela tells Chema they need to go to the police. Although initially reluctant, Chema agrees but takes a shower before leaving. While he is in the bathroom, Ángela finds a Sony zoom camera among Chema's belongings, which contains a tape showing Ángela from outside her bedroom window. Convinced that Chema has been stalking her, Ángela flees. She goes back home to advise Sena to remain safe, then takes a taxi to Bosco's house. She is followed by a figure in a black raincoat.
At Bosco's house, he and Ángela talk about their relationship. Suddenly, the lights go out and Bosco goes downstairs to check on the power. When Ángela follows him, she finds him lying on the floor; Chema has followed her to the house and knocked out Bosco. However, Bosco revives and in the struggle that ensues, beats Chema to the ground. While Bosco fetches rope to tie up Chema, he tells Ángela to look in Bosco's garage. Ángela does so and recognizes the room from the snuff film of Vanessa. Bosco ties up Ángela and explains how he intends to torture and kill her. However, she cuts her bonds with a knife, slashes Bosco, grabs his gun, and shoots him dead. Ángela visits a recovering Chema in the hospital. On the television in his room, an announcer states that the bodies of six women were found at Bosco's home. Ángela gives Chema a book inscribed with an invitation to have coffee with her and tells him she is going to abandon her thesis. As they leave, the announcer states that footage from a snuff film will be shown on air.
Cast
[edit]Main cast:[3]
- Ana Torrent as Ángela Márquez
- Fele Martínez as Chema
- Eduardo Noriega as Bosco Herranz
- Xabier Elorriaga as Professor Jorge Castro
- Miguel Picazo as Professor Figueroa
- Nieves Herranz as Sena Márquez
- Rosa Campillo as Yolanda
- Paco Hernández as Ángela's Father
- Rosa Ávila as Ángela's Mother
- Olga Margallo as Vanessa Romero
- Teresa Castanedo as News Broadcaster
Critical response
[edit]As a film made by a film student about film students, much of Tesis is metafilmic and comments on the Spanish film industry, Hollywood influence and the voyeuristic nature of the horror and snuff genres. Following the aesthetic of the American horror genre, Angela operates as the "Final Girl", or resourceful female protagonist that defies stereotypical feminine traits.[4] Although Tesis fits the suspenseful mold of a Hollywood horror flick rather than its symbol-rich European counterpart, according to European film critic Marguerite la Caze, Tesis has a thesis: "human beings, no matter how well-meaning, are attracted to violence and death in all its forms".[5] Joe Leydon assessed that Amenábar "provides an inventive plot and a sufficient supply of red herrings".[6]
Tesis has generated much critical analysis due to its study of the fascination of violence. Film critic Leora Lev discusses Angela's ethical rejection and simultaneous attraction to violent images as this film's primary conversation. Lev states that Angela's psychosexual conflict with both the snuff film and the murderer, Bosco, is emblematic of the culture that consumes violent films and reality television series.[4]
On the film-critics aggregator Rotten Tomatoes, Thesis has a critical rating of 83% based on 12 reviews.[7]
Accolades
[edit]| Year | Award | Category | Nominee(s) | Result | Ref. |
|---|---|---|---|---|---|
| 1997 | 11th Goya Awards | Best Film | Won | [8] | |
| Best New Director | Alejandro Amenábar | Won | |||
| Best Original Screenplay | Alejandro Amenábar | Won | |||
| Best Actress | Ana Torrent | Nominated | |||
| Best New Actor | Fele Martínez | Won | |||
| Best Editing | María Elena Sáinz de Rozas | Won | |||
| Best Production Supervision | Emiliano Otegui | Won | |||
| Best Sound | Alfonso Pino, Daniel Goldstein, Ricardo Steinberg | Won | |||
See also
[edit]References
[edit]- ^ "Film #257: Tesis". Lumiere. Retrieved 17 January 2022.
- ^ Boletín informativo. Anexo cultura en cifras. Datos de 1996 (PDF). ICAA. 1997. p. 135.
- ^ "TESIS (1995)". BFI. Archived from the original on July 20, 2016. Retrieved 2022-06-04.
- ^ a b Lev, Leora. "Tesis".
- ^ "Kinoeye | Spanish horror: Alejandro Amenabar's Tesis". www.kinoeye.org. Retrieved 2015-07-18.
- ^ Leydon, Joe (25 February 1996). "Thesis". Variety.
- ^ "Thesis". Rotten Tomatoes. Retrieved 2021-06-15.
- ^ "Tesis". premiosgoya.com. Academia de las Artes y las Ciencias Cinematográficas de España. Retrieved 4 May 2023.
External links
[edit]- Thesis at IMDb
- “Snuffing” Hollywood: Transmedia Horror in Tesis, movie analysis at Senses of Cinema
- Tesis Archived 2014-06-28 at the Wayback Machine, at Club Cultura
Thesis (1996 film)
View on GrokipediaProduction
Development
Tesis marked the feature film debut of director Alejandro Amenábar, who was 23 years old during its production. The screenplay was co-written by Amenábar and Mateo Gil, fellow students in the Image and Sound program at Madrid's Complutense University, where the pair first collaborated on short films. Amenábar's prior student projects, including the shorts Himenóptero (1992) and Luna (1995), honed his interest in psychological tension and narrative suspense, elements that informed the feature's structure.[9][10][11] The script evolved as a self-reflexive exploration of violence in media, using the concept of snuff films to critique audience complicity in voyeuristic consumption. Amenábar and Gil reworked earlier ideas into a thriller premise centered on a film student's investigation into screen violence, blending horror tropes with meta-commentary on spectatorship. This development phase emphasized thematic depth over spectacle, drawing from urban legends of underground films while avoiding explicit gore to heighten implication.[12][13][11] Funding proved challenging for the low-budget production, secured at approximately €720,000 through small Spanish companies Las Producciones del Escorpión and Sogepaq. Amenábar multitasked extensively, directing, writing, editing, and composing the original score to control costs and artistic vision. Pre-production hurdles included assembling a cast of relative unknowns, such as Fele Martínez in his debut role and Eduardo Noriega early in his career, to suit the intimate, student-like authenticity of the story.[14]Filming
Principal photography for Thesis took place from late August to late September 1995 in Madrid, Spain, on a tight schedule of approximately five weeks.[15] The production primarily utilized locations at the Complutense University of Madrid, including the Facultad de Ciencias de la Información, to authentically recreate academic environments central to the story.[16] Shot on 35mm film, the film adhered to a constrained budget that necessitated efficient shooting practices, with the cast and crew enduring long daily shifts of 10 to 12 hours over five days a week, plus occasional weekends.[17][15] Director Alejandro Amenábar employed a style featuring extended long takes and subjective point-of-view shots to heighten tension and immerse viewers in the narrative's voyeuristic perspective.[18] This approach not only amplified the film's thematic exploration of voyeurism but also maximized the limited resources available. The creation of the snuff film sequences relied on practical effects, including prosthetics and simulated violence, to depict horror within ethical and budgetary boundaries while avoiding gratuitous on-screen gore.[18] Amenábar's team, comprising a mix of experienced and non-professional crew members due to the debut project's scale, often improvised elements of scenes to enhance realism and adapt to on-set constraints.[15] These logistical challenges contributed to the film's raw, intimate atmosphere, distinguishing it as a resourceful low-budget thriller.Release
Premiere and distribution
The film had its world premiere at the Berlin International Film Festival in February 1996, where it was screened in the Panorama section.[19][20] Following this, it received its Spanish theatrical release on 12 April 1996, distributed by United International Pictures, which handled promotion and exhibition across the country.[21] The initial rollout in Spain was limited, targeting select urban cinemas before expanding to broader audiences, capitalizing on the novelty of a debut feature by 23-year-old director Alejandro Amenábar.[22] Internationally, the film's distribution began with festival screenings to build momentum, including an appearance at the Mar del Plata International Film Festival in November 1996, alongside theatrical releases in European markets such as Denmark on 25 October 1996 and various Latin American territories starting with Argentina in November 1996.[19] These efforts secured deals for wider European and Latin American distribution, emphasizing the film's exploration of taboo subjects like snuff films to attract genre enthusiasts and generate critical buzz around Amenábar's youthful perspective on media violence.[12] In October 2021, Sentient Entertainment acquired English-language remake rights to the film.[8] Home video distribution followed soon after, with a VHS release in Spain in 1997, allowing greater accessibility beyond theaters.[23] A DVD edition arrived in 2000, featuring standard extras like interviews, while a remastered version emerged in 2011; in 2024, a 4K UHD Blu-ray edition was released by Umbrella Entertainment.[24][25][26] As of November 2025, the film is available on streaming platforms including Shudder, AMC+, and Philo.[24] The marketing strategy throughout highlighted Amenábar's precocious talent and the provocative theme of snuff films, positioning Tesis as a bold entry in Spanish horror-thriller cinema that sparked discussions on voyeurism in media.[12]Box office
Tesis achieved significant commercial success in Spain, grossing 440 million pesetas (approximately €2.65 million or $3.5 million USD at 1996 exchange rates), which represented a strong performance for a low-budget production.[27][28] The film attracted 855,378 admissions domestically, with over 200,000 viewers in its initial months of release.[27] Produced on a budget of 116 million pesetas (roughly €700,000 or $900,000 USD), it marked a surprise hit, yielding a return on investment of approximately 279% (gross approximately 3.8 times the budget).[28][29] This outperformed many contemporary low-budget Spanish thrillers, such as early works by directors like Álex de la Iglesia, which often struggled to exceed break-even despite similar genre appeal.[30] The film's domestic triumph was driven by positive word-of-mouth, which built momentum within two to three months of release, alongside acclaim from its premiere at the Berlin International Film Festival's Panorama section.[31][32] International earnings remained modest, with a limited U.S. release generating just $18,482, contributing to a global total estimated at around $3.5–4 million by 1997, predominantly from the Spanish market. As of November 2025, Tesis has seen no major theatrical re-releases or significant box office revivals, though its cult status persists through home video and streaming.[5]Synopsis and characters
Plot
The film opens in November 1995 with Ángela Márquez, a university student in Madrid preparing her thesis on audiovisual violence and its impact on viewers. Her commuter train is stopped after a man jumps in front of it, committing suicide; as passengers are evacuated, Ángela attempts to glimpse the body on the tracks. At university, she asks her thesis director, Professor Figueroa, for examples of the most violent films from the school's audiovisual archives and consults classmate Chema, a collector of violent and pornographic videos. Figueroa locates a hidden tape, but dies of an apparent asthma attack while screening it in a projection room; Ángela discovers the body and takes the cassette. Professor Castro, a younger academic, takes over supervision of her thesis.[20] Viewing the tape at Chema's with his help, Ángela realizes it is a snuff film depicting the torture, murder, and disembowelment of Vanessa Romero, a fellow student missing for two years. They identify the killer used a specific Sony camera model with digital zoom, filmed in a garage. At the library, Ángela spots Bosco Herranz using that camera; he approaches her after noticing her clippings on Vanessa's case, claiming she ran away with a boyfriend. Despite Chema warning she is a psychopath, Ángela is attracted to the charismatic Bosco Herranz.[33] Castro questions Ángela Márquez about the tape after security footage shows her taking it. Chema warns her of Castro's involvement and helps her escape. Bosco Herranz's ex-girlfriend Yolanda reveals a past film workshop with Castro, Bosco, Chema, and Vanessa, where things turned exploitative; she suspects Chema. Chema admits past friendship with Bosco but claims he left when it escalated. They discover a hidden tunnel in the archives leading to a room with more snuff tapes. Trapped briefly, they find an editing room; Chema disappears overnight, and Ángela is captured by Castro, who admits editing the films and prepares to kill her painlessly. Chema intervenes, killing Castro in a struggle, allowing escape.[34] Fearing for her younger sister Sena Márquez, who is with Bosco Herranz, Ángela goes to the party and kisses Bosco to lure Sena away. She convinces Chema to go to police but finds a tape of herself being stalked, fleeing to Bosco's house. Chema follows; he knocks out Bosco, but Bosco revives, beats Chema, and captures Ángela in his garage—the snuff site. Revealing himself as the killer, Bosco ties her, but she cuts free, stabs him, takes his gun, and shoots him dead. Visiting recovering Chema in hospital, Ángela invites him for coffee and abandons her thesis as TV news reports bodies found at Bosco Herranz's and airs snuff footage.[35]Cast
Ana Torrent portrays Ángela Márquez, the determined film student protagonist who grapples with profound moral dilemmas as she investigates the boundaries between fiction and reality in media violence.[12] Fele Martínez plays Chema, Ángela's quirky and horror-obsessed classmate who aids her in the investigation with his encyclopedic knowledge of exploitative cinema, contributing to the film's tense, intellectual tone through his detached yet enthusiastic demeanor.[36] Eduardo Noriega embodies Bosco Herranz, the charismatic yet sinister fellow student harboring hidden motives that amplify the story's undercurrent of suspicion and psychological unease.[12] In supporting roles, Xabier Elorriaga appears as Professor Castro, the media psychology professor who supervises the thesis and is implicated in the snuff operation, while Miguel Picazo plays Professor Figueroa, the initial advisor whose death uncovers the tape. Nieves Herranz plays Sena Márquez, Ángela's younger sister whose safety becomes a concern in the investigation. Rosa Campillo portrays Yolanda, Bosco's girlfriend who provides revelations about past events involving the group. Olga Margallo depicts Vanessa Romero, the ill-fated victim whose disappearance and snuff film propels the central mystery, and minor characters like the university librarian (Terele Pávez) enhance the everyday realism of the academic setting.[36] Director Alejandro Amenábar opted for mostly relative unknowns in the cast to heighten the film's realistic portrayal of university life and interpersonal tensions, paying them minimal rates to maintain a low-budget authenticity. Notably, he cast Ana Torrent in the lead role, drawing on her iconic status in Spanish cinema from earlier acclaimed works by directors Carlos Saura and Víctor Erice, which brought seasoned depth and emotional nuance to Ángela's character.[35] Through these choices, the ensemble subtly embodies the theme of voyeurism, as characters like Chema navigate their obsessions with on-screen violence in ways that mirror the audience's own gaze.[12]Themes and analysis
Voyeurism and media violence
Tesis employs the motif of snuff films as an allegory for contemporary media consumption, interrogating the societal compulsion to witness depictions of suffering and death. The film's protagonist, Ángela, stumbles upon a tape purporting to show a real murder, which serves to mirror the voyeuristic allure of violent content in television and cinema during the 1990s, a period marked by intense public debates over screen violence in Spain following sensationalized coverage of cases like the 1992 Alcàsser murders.[12][37] This setup critiques how media commodifies horror, drawing audiences into ethical complicity by exploiting their fascination with the "reality effect" of unfiltered brutality, while questioning the pleasure derived from such spectacles.[12] Ángela's narrative arc transitions her from a detached academic observer researching media violence for her thesis to an unwitting victim ensnared by the very imagery she studies, thereby illustrating the perilous blurring of fictional representations and lived trauma. Initially, her intellectual curiosity positions her as a safe spectator, but as she delves deeper—prompted by the discovery of the snuff tape—her personal peril underscores the psychological toll of engaging with violent media, transforming passive viewing into active endangerment.[12][37] This evolution highlights the film's ethical inquiry into spectatorship, where the viewer's gaze implicates them in the cycle of violence, echoing broader concerns about desensitization and moral detachment fostered by habitual exposure to on-screen atrocities.[38] The film levels a pointed critique at the film industry and familial viewing practices, reflecting 1990s anxieties over how violent content infiltrates domestic spaces and shapes collective behavior. Director Alejandro Amenábar draws on the era's controversies surrounding trash television and the manipulative power of audiovisual media, portraying university archives and home entertainment systems as conduits for unchecked aggression that normalize suffering for profit.[37] In Spain, this resonated with public outrage over exploitative broadcasts, positioning Tesis as a cautionary commentary on the industry's role in perpetuating voyeuristic habits within families, where casual consumption of gore erodes ethical boundaries.[12] Symbolically, cameras and screens in Tesis embody voyeuristic detachment, framing violence through mediated lenses that distance viewers from its human cost while inviting their gaze. Amenábar deliberately eschews gratuitous gore, opting for off-screen implications and glimpses—such as Ángela's visceral reactions rather than explicit carnage—to evoke an intellectual horror that forces contemplation of the medium's seductive detachment.[12][37] This restraint amplifies the thematic critique, contrasting the cold objectivity of recording devices with the raw terror they conceal, and underscoring how such tools enable a detached spectatorship that masks profound ethical violations.[39]Metafictional elements
Tesis employs a nested storytelling structure in which the protagonist Ángela's academic thesis on audiovisual violence directly mirrors the film's own interrogation of violence in cinema, establishing a reflexive loop where the narrative observes its own mechanisms of representation. This metafictional layering positions Ángela as both investigator and surrogate for the audience, as her discovery of a snuff film propels the plot while commenting on the ethical boundaries of cinematic depiction. By embedding her research within the thriller framework, director Alejandro Amenábar creates a self-contained commentary on how films construct and critique their violent content.[12] Amenábar further enhances this reflexivity through stylistic choices, such as handheld cameras and point-of-view shots that immerse viewers in the act of voyeurism, prefiguring found-footage aesthetics by implicating the audience as complicit observers. These techniques, often aligned with the killer's perspective via a video camera's viewfinder, blur the lines between diegetic recording and the film's production, forcing spectators to confront their gaze. The academic setting of the Universidad Complutense serves as a metonym for film education, transforming the university into a microcosm where theoretical study collides with practical horror, adapting international influences to a Spanish context.[12][15] The film draws on influences from Alfred Hitchcock's Psycho (1960) and Rear Window (1954), as well as Italian giallo traditions, reworking suspense thriller conventions like voyeuristic tension and sudden revelations to suit a post-Franco Spanish milieu. In Tesis, these elements are localized through the thesis motif, which underscores cinema's pedagogical role in dissecting genre tropes. The ending's twist, shifting to a video POV during the climactic confrontation, reinforces film's capacity to manipulate perception, ultimately framing the entire narrative as a meta-thesis on the conventions of the thriller genre itself.[15][39]Reception
Critical response
Upon its release in Spain in 1996, Tesis was praised by critics as a groundbreaking achievement in Spanish cinema, lauding Alejandro Amenábar's assured direction at the age of 23 and the film's tense pacing in exploring violence and voyeurism.[18] International reviewers echoed this, with Variety highlighting the "inventive plot and a sufficient supply of red herrings" that generate genuine tension, while commending strong performances from Ana Torrent and moody cinematography by Hans Burmann.[20] However, the same review noted criticisms of a "draggy second half" that failed to sustain suspense and included "whopping improbabilities," such as the unlikely storage of snuff tapes in a university archive.[20] Aggregate scores reflect this mixed but largely positive contemporary response. On Rotten Tomatoes, Tesis maintains an 83% approval rating based on 12 critic reviews as of 2025.[1] Some early critiques, including from PopMatters in a 2014 retrospective, pointed to the film's predictable structure and heavy American influences, describing it as a "fairly predictable, American-influenced thriller" that occasionally relies on contrivances.[40] Modern reassessments in the 2020s have further elevated the film's reputation for its prescience on digital voyeurism and media commodification of violence, with a 2020 analysis in Certified Forgotten praising its depiction of power dynamics and gender-based violence as resonant with #MeToo themes, framing protagonist Ángela's confrontation with systemic abuse as a call to bear witness and drive change.[41] Retrospective reviews often highlight limited character depth beyond the thriller archetype, such as underdeveloped motivations for supporting roles, though Torrent's portrayal of Ángela's intelligence amid peril remains a standout.[40] A 2014 Rolling Stone review described Amenábar's direction as balancing "actual, terrifying visuals with Hitchcockian red herrings" for one of the best debut films in years.[42]Accolades
Thesis achieved significant acclaim at the 11th Goya Awards in 1997, securing seven wins from eight nominations, marking a major triumph for debut director Alejandro Amenábar.[43] The film was honored with Best Film, Best Original Screenplay (Amenábar), Best New Director (Amenábar), Best New Actor (Fele Martínez), Best Production Management (Emiliano Otegui), Best Editing (María Elena Sáinz de Rozas), and Best Sound (Miguel Rejas, Gilles Ortion, José Antonio Bermúdez, Carlos Garrido, and Ray Gill). Ana Torrent received a nomination for Best Lead Actress.[43]| Category | Winner(s) |
|---|---|
| Best Film | Thesis |
| Best Original Screenplay | Alejandro Amenábar |
| Best New Director | Alejandro Amenábar |
| Best New Actor | Fele Martínez |
| Best Production Management | Emiliano Otegui |
| Best Editing | María Elena Sáinz de Rozas |
| Best Sound | Miguel Rejas et al. |
