What are Pedro Alonso Pablos first seven films and what do they mean for cinema?
August, 16; 2025. By Arscodex
At this very moment today, the writer—yes, the film producer and director of this publication, Pedro Alonso Pablos—has had, I mean, I have had, a moment of respite to reflect a bit, look back, and realize that my first seven animated feature films, "Pedro Alonso Pablos' first seven films," are complete.
The first thing I'm going to do is thank Providence for allowing me to complete this work, which is clearly going to mean something very important both to me and to others. Not even in my wildest dreams would I have ever dreamed I'd be able to complete these seven animated feature films, made almost entirely by myself, and each with a different collaborating actress, except for one where I didn't need anyone else. Let's not kid ourselves, and let's not think that the author is being triumphant in writing this article: Pedro Alonso Pablos's first seven films undoubtedly represent a milestone in the world of cinema, and I invite any person of flesh and blood to try to surpass what has already been done if they aren't satisfied with this (they'll realize it's not easy).
The seven films are: La ruta de los elefantes, Triskipolis, My surprising and fabulous imaginary friend, The lake of oblivion, Kaptavita, The man who never cried, and He was a daydreamer.
To comment on something, I must say that this work has caused me certain personal problems—before—it was completed: for some time now, I'd been saving a good number of musical cuts and scripts in my head; of course, only I knew all that material, and I was already comparing it with the rest of the available offering, but of course, only I knew that. Thus, there have been certain people—including my closest family—who were unable to see everything I was holding back and were quick to call me a "crazy" when they saw me talking about all this—before it was even on the face of the earth.
But anyway, let's put aside these minor rough edges, which will undoubtedly be smoothed out over time, and let's welcome, now, in a calm and orderly manner, these first seven films by Pedro Alonso Pablos, all of them—or almost all of them—aimed at all audiences, and some of them especially dedicated to children. All of them with the same running time: 65 minutes. All with a good number of musical interludes composed and produced by myself.
Let me not forget: I ask Providence for permission to complete a few more films, as is now a tradition in this medium.
Anyway, after finishing a couple of the remaining tweaks to this collection of films, I'll make them all available together in a bundle with a small discount so that seasoned cinephiles can enjoy this work, which, let's face it, is a mainstay in the world of cinema in particular and art in general. Enjoy them, I've made them for you.
The first thing I'm going to do is thank Providence for allowing me to complete this work, which is clearly going to mean something very important both to me and to others. Not even in my wildest dreams would I have ever dreamed I'd be able to complete these seven animated feature films, made almost entirely by myself, and each with a different collaborating actress, except for one where I didn't need anyone else. Let's not kid ourselves, and let's not think that the author is being triumphant in writing this article: Pedro Alonso Pablos's first seven films undoubtedly represent a milestone in the world of cinema, and I invite any person of flesh and blood to try to surpass what has already been done if they aren't satisfied with this (they'll realize it's not easy).
The seven films are: La ruta de los elefantes, Triskipolis, My surprising and fabulous imaginary friend, The lake of oblivion, Kaptavita, The man who never cried, and He was a daydreamer.
To comment on something, I must say that this work has caused me certain personal problems—before—it was completed: for some time now, I'd been saving a good number of musical cuts and scripts in my head; of course, only I knew all that material, and I was already comparing it with the rest of the available offering, but of course, only I knew that. Thus, there have been certain people—including my closest family—who were unable to see everything I was holding back and were quick to call me a "crazy" when they saw me talking about all this—before it was even on the face of the earth.
But anyway, let's put aside these minor rough edges, which will undoubtedly be smoothed out over time, and let's welcome, now, in a calm and orderly manner, these first seven films by Pedro Alonso Pablos, all of them—or almost all of them—aimed at all audiences, and some of them especially dedicated to children. All of them with the same running time: 65 minutes. All with a good number of musical interludes composed and produced by myself.
Let me not forget: I ask Providence for permission to complete a few more films, as is now a tradition in this medium.
Anyway, after finishing a couple of the remaining tweaks to this collection of films, I'll make them all available together in a bundle with a small discount so that seasoned cinephiles can enjoy this work, which, let's face it, is a mainstay in the world of cinema in particular and art in general. Enjoy them, I've made them for you.
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