ABSTRACT
Ander eta Yul (1988), by Ana Diez, and Yoyes (2000), by Helena Taberna, are two films that offer artistic representations of the private and political lives of certain members of the terrorist organization ETA. These directors' choice of theme is an unusual one considering the fact that Spanish cinema, for reasons ranging from fear of offending one or another side of the conflict to the assumed low profitability of such films, has generally forgotten or ignored this topic. The lack of commercial interest of certain type of cinema seems to be relevant factor for explaining the absence of movies dealing with terrorism. Joseba Gabilondo, in reference to the historical novel in contemporary Basque narrative, claims that the foundation of the Basque nation is related to the emergence of ETA. Taking into account the very limited presence of Basque female directors in the panorama of Spanish cinema, their choice of subject matter seems even more unusual.
