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This essay looks at the representation of disability in the recent Spanish film "Yo, también" through the lens of disability studies, understood as a political project. The film's portrayal of a character who is, like the actor who plays him, Europe's first university graduate with Down syndrome, is unique. Moreover, "Yo, también" provides the opportunity to assess the state of the struggle for rights for persons with disabilities both in the film's narrative arc and also in the wider Spanish (and global) society. Among other sources, specific articles of the United Nations's recent Convention on the Rights of People with Disabilities are incorporated into the essay. Both essay and film coincide in emphasizing the need to grant disabled populations greater autonomy in the spheres of love and work.

Domestic abuse continues to claim many lives in Spain despite a series of new laws to protect women and to punish abusers. This essay explores the cultural influences of contemporary Spanish cinema on domestic violence. Four films are assessed against a Portfolio Model of social responsibility that uses two basic dimensions: realism and human rights. Realism in each film is determined by the behavioral components of the internationally recognized Duluth Model and the Wheel of Power and Control. The human rights dimension addresses equality, power and agency for women. This study focuses on Icíar Bollaín's "Te doy mis ojos" (2003), Javier Balaguer's "Sólo mía" (2001), Benito Zambrano's "Solas" (1999), and Pedro Almodóvar's "Pepi, Luci, Bom y otras chicas del montón" (1980). The results demonstrate significant variations in the measure of social responsibility indicating that contemporary Spanish cinema may play a role in perpetuating gender-based violence.