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A saint in a crown, drowning in court intrigue — piety meets political bloodsport.
TMDB
43
IMDb
62

Reina santa (1947)

melodramaticcourtly chaosrighteous rage

Overview

DramaHistory

A virtuous Spanish princess becomes queen of Portugal, and soon is affected by the social struggles and the reckless fight to power between the king's faction and that of his son's.

Flag of ESESSpanish
Content warning

Standout Aspects

Acting

Maruchi Fresno's exhausted eyes carry entire scenes.

Costume

Headdresses so tall they deserve billing.

Direction

Three directors, one surprisingly coherent vision.

Best for:Solo: When you want to feel morally superior to 14th-century nobility.·Streaming: Late-night historical rabbit hole with wine.
Heads up:Emotional: Maternal separation and political imprisonment of children.·Triggers: Forced religious penance and public humiliation.
A

Director

Aníbal Contreiras

ReleasedJan 11, 1947
Runtime1h 50m
StatusReleased

Vibe

Paceslow
Intensitymedium
Tonedark
Feelheavy
Cesáreo González
Filmes Albuquerque

Top Cast

Maruchi Fresno

Maruchi Fresno

Isabel of Aragón

António Vilar

António Vilar

Dinis, King of Portugal

Luis Peña

Luis Peña

Nuño de Lara

Fernando Rey

Fernando Rey

Infante Alfonso

José Nieto

José Nieto

Vasco Peres, the alderman

María Martín

María Martín

Blanca

Juan Espantaleón

Juan Espantaleón

Pedro, the priest

Fernando Fernández de Córdoba

Fernando Fernández de Córdoba

Pedro III de Aragón

María Asquerino

María Asquerino

Leonor

Virgílio Teixeira

Virgílio Teixeira

Alfonso Sánchez

Milagros Leal

Milagros Leal

Doña Betaza

Gabriel Algara

Gabriel Algara

Juan Velho

Barreto Poeira

Barreto Poeira

Álvaro, the squire

Carmen Sánchez

Carmen Sánchez

Doña Constanza

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Deep Dive

Trivia, insights & behind the scenes

Cultural

Isabel of Aragón was canonized in 1625; Franco-era Spain leaned hard into her as Catholic-nationalist icon, making this 1947 production politically loaded hagiography.

Trivia

Three directors credited because Spanish-Portuguese co-production rules required local filmmakers; Gil shot most footage, Contreiras and Campos handled location second-unit work.

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