THE HOUSE WITHOUT FRONTIERS
(LA CASA SIN FRONTERAS)
dir. Pedro Olea, 1972.
Spain. 92 mins.
In Spanish with English Subs.

FRIDAY FEBRUARY 7 - MIDNIGHT
SATURDAY FEBRUARY 15 - 5PM
SUNDAY FEBRUARY 23 - 5PM
FRIDAY FEBRUARY 28 - MIDNIGHT

After moving to Bilbao in search of work, Daniel is approached by a member of the elusive organization known as The House Without Frontiers and tasked with tracking down one of its deserters. If he fails, he will face “The Only Penalty.”

Even with its anti-totalitarian themes, THE HOUSE WITHOUT FRONTIERS managed to evade Spain's stringent censorship and was released uncut just three years before the end of the Francoist dictatorship in 1975. This is particularly remarkable given the parallels drawn between the film’s fictional cult, The House Without Frontiers, and the real-life organization Opus Dei, as explored in Jorge Pérez's book, Confessional Cinema: Religion, Film, and Modernity in Spain’s Development Years, 1960-1975. Pérez highlights the connections between Daniel's descent into madness and the experiences of former Opus Dei members, pointing out the retaliatory measures they faced. He states, “These activities appear to echo the hard-line proselytizing that Opus Dei members are compelled to carry out and the harsh treatment of dissenters and dropouts."

One reason THE HOUSE WITHOUT FRONTIERS escaped censorship might be director Pedro Olea’s strategic decision to refrain from referencing Opus Dei in the film's marketing. Additionally, the censorship board didn’t believe the film would have a wide enough appeal to reach the masses, despite its nomination (albeit unsuccessful) to represent Spain at the Academy Awards. Unfortunately, the board’s projections proved correct, as THE HOUSE WITHOUT FRONTIERS was a commercial flop and faded into obscurity.


Even today, THE HOUSE WITHOUT FRONTIERS remains largely underseen, often overshadowed by thematically similar Italian films like SHORT NIGHT OF GLASS DOLLS (1971) and ALL THE COLORS OF THE DARK (1972). Yet, with its haunting cinematography and strikingly decrepit locations in Bilbao, this film is deserving of a critical reexamination.