Fantástico is a Brazilian weekly television newsmagazine broadcast on Sundays on Rede Globo.

On a typical day, this small town is very peaceful. Grandmothers tell stories of biblical monsters while gently slapping the listener with a shoe. The daily routine of sunset ball play is interrupted only by the call of fresh fried sausages, or, perhaps, by the beckoning of a colorful alcoholic beverage. But this day is not a typical one. This day, the sea does not bring the usual boat engine, fish scull or metal briefcase ashore. Instead, it delivers a woman and a doll. A group of Mexican hipsters beach bums come upon this woman and her doll. Louise -- who may or may not be a disgruntled hippie dropping out, or a failed Ponzi schemer seeking solace in the ocean -- responds to her new surroundings with a coma-like stare.

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In 1993, Jesús Parrado interviewed actor and director Jacinto Molina, world-wide known as Paul Naschy, and director Amando de Ossorio, two key figures of the Spanish fantasy cinema. In 2019, part of this footage is rescued. The rest has lost forever.

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The head of the FBI explains that hippies were good, but that they have degenerated due to psychedelic painting, drugs, and becoming addicted to free love. Secret Agent Frank investigates Sandy, whose daughter has disappeared, apparently because of hippies.

Mel and Zeca face a dangerous mission to find Max, who has mysteriously disappeared. In search of their friend, they end up in the kingdom of Ondion, a colorful magical world, where they will have to face the villains Rumorum and Juks.

1862. Commodore Sir Francis and inventor Douglas initiated on behalf of the Royal Society of London Geography of a balloon ride under the command of Dr. Ferguson, who plans to cross Africa from east to west. But to accomplish this feat will have to overcome numerous adventures in which their lives are at serious risk.

Follows two friends, Juan and David, they will find themselves on a rooftop terrace after an intense party in Madrid. Juan witnesses David falling to the void, and his body disintegrating into ceramic pieces after hitting a car.

Mexico’s half-forgotten B-movie master, “involuntary surrealist” Juan Orol (1897–1988), receives a pitch-perfect tribute in this deft, irresistible love letter to a self-made man of showbiz whose career spanned half a century and nearly 60 films. Abetted by an all-pro cast, del Amo’s brilliant interpretation of Orol’s life exudes a droll underdog charm, and almost every frame is an infectious homage to the golden age of cinema, the wiles of memory, and the art of fantasy.