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    Rafael Hernández

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    The Traveller 1979 POSTER

    The Traveller

    1979

    Spanish

    6.3

    11

    Action

    decadence

    devil

    Horror

    Paul Naschy Paul Naschy Director Sara Goyanes Sara Goyanes as Silvia Aguilar Silvia Aguilar as Inés Adriana Vega Adriana Vega as María Rafael Hernández Rafael Hernández as Ramiro
    The devil, following in the footsteps of Christ, decides to become flesh and take a stroll around Earth to see how humans have progressed, and have a little fun creating havoc and mayhem in the process.
    The Awful Dr. Orlof 1962 POSTER

    The Awful Dr. Orlof

    1962

    Spanish

    6.1

    3

    Action

    Horror

    psychotronic film

    Jesús Franco Jesús Franco Director Rafael Hernández Rafael Hernández as Félix Dafauce Félix Dafauce as Chief Inspector Conrado San Martín Conrado San Martín as Inspector Tanner Jesús Franco Jesús Franco as Pianista
    Dr. Orlof, a former prison doctor, abducts beautiful women from nightclubs to use their skin to repair his daughter's fire-scarred face. He is assisted by Morpho, a deformed monstrosity who delights in biting his victims. Orlof had better hurry, though -- a young police inspector and his ballerina girlfriend are onto his sadistic practices.
    Double Feature 1984 POSTER

    Double Feature

    1984

    Spanish

    5.9

    1

    Drama

    José Luis Garci José Luis Garci Director Diana Salcedo Diana Salcedo as Rafael Hernández Rafael Hernández as Empleado de producciones Balboa Films Adolfo Marsillach Adolfo Marsillach as José Manuel Varela Emma Suárez Emma Suárez as Sonia
    Director José Luis Garci has turned his camera inward on filmmakers and screenwriters to portray them as so self-absorbed in the creative process that there is no other world, no other human relationship that can compete. As José (Adolfo Marsillach) and Federico (Jesus Puente) work together on a new screenplay, their interactions with their family (José's teen daughters, Federico's wife) disappear under the all-consuming task of creation. The daughters give up and go off on their own, and the wife joins a convent while Federico barely notices. And when the producer is interrupted by profound grief at the sudden death of his older son, he almost automatically returns to thinking about the film project when the funeral has ended. Garci honors many great directors at the beginning of this film, and the film continues to play out as an elaboration on this homage -- an illustration both of the dedication and the cost of filmmaking, no judgments given.
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