A couple rushing home at night hit a cyclist. Despite knowing that the man's still alive, they opt to leave the site of the #crash and never mention it again. News reports about the death of the cyclist cause a rupture; because of the couple's #class differences – she a wealthy socialite, he a former falange soldier turned university professor – because they're lovers, and because no one can know about their whereabouts on the night of the accident.

“He's still alive.”

Striking about Bardem's Muerte de un ciclista is its outsiderness in the Spanish film landscape. By adopting the visual language of both Italian #Neorealismo and Hollywood #melodrama, Bardem elegantly circumvents #Franco​ist censorship.