A list of films produced in Spain in 1995 (see 1995 in film).

The art of motion-picture making within the nation of Spain or by Spanish filmmakers abroad is collectively known as Spanish Cinema.

In recent years, Spanish cinema has achieved high marks of recognition as a result of its creative and technical excellence. In the long history of Spanish cinema, the great filmmaker Luis Buñuel was the first to achieve universal recognition, followed by Pedro Almodóvar in the 1980s. Spanish cinema has also seen international success over the years with films by directors like Segundo de Chomón, Florián Rey, Luis García Berlanga, Juan Antonio Bardem, Carlos Saura, Julio Médem and Alejandro Amenábar. Woody Allen, upon receiving the prestigious Prince of Asturias Award in 2002 in Oviedo remarked: "when I left New York, the most exciting film in the city at the time was Spanish, Pedro Almodovar's one. I hope that Europeans will continue to lead the way in film making because at the moment not much is coming from the United States."

Non-directors have obtained less international notability like the cinematographer Néstor Almendros, the Art director Gil Parrondo, the screenwriter Rafael Azcona, the actresses Maribel Verdú and, especially, Penélope Cruz and the actors Fernando Rey, Francisco Rabal, Antonio Banderas, Javier Bardem and Fernando Fernán Gómez have obtained significant recognition outside Spain.

Carlos Saura Atarés (born 4 January 1932, Huesca) is a Spanish film director and photographer.

Born into a family of artists (his mother was a pianist and his brother, Antonio Saura, a painter), he developed his artistic sense in childhood as a photography enthusiast.

He obtained his directing diploma in Madrid in 1957 at the Institute of Cinema Research and Studies. He also taught there until 1963.

In 1957-1958, Saura created his first film (Cuenca). In 1966, he was honored at the 16th Berlin International Film Festival, where he received the Silver Bear for Best Director for his film La caza. In 1967, his film Peppermint Frappé also received the Silver Bear for Best Director at the 18th Berlin International Film Festival. He won the Golden Bear in 1981 at the 31st Berlin International Film Festival for his film Deprisa, Deprisa.

The movies La prima Angélica (Cousin Angélica) of 1973 and Cría cuervos (Raising Ravens [from the Spanish phrase: Cria cuervos y te sacaran los ojos (Raise ravens and they will peck out your eyes)]) of 1975 received the special prize of the jury at the Cannes Film Festival. His movie Mama cumple 100 años"(Mom is celebrating her 100 years) was nominated in 1979 for the best foreign film at the Oscar Awards .

Alejandro "Álex" de la Iglesia Mendoza (born December 4, 1965) is a Spanish film director, screenwriter, film producer and former comic book artist.

Most of De La Iglesia's films reached cult status due to their weird sense of humour.

Álex de la Iglesia was born in Bilbao, Spain in 1965. He is a philosophy graduate from the University of Deusto who ended up working in the comic book field at a young age. He had a brief stint in television before finding work as production designer on Pablo Berger's Mamá. This little seen short film focuses on a family forced to live in a basement after a nuclear war and features a little boy who wears a Batman costume.

Enrique Urbizu came calling for his production designer services in 1991 for Todo por la pasta (Anything for money), a Basque crime thriller which was nominated for 4 Goya Awards, and won 1 (best supporting actress). A good film to get De La Iglesia noticed.

He then met José Guerricaechevarria and together they made the short film, Mirindas Asesinas (1991), in which a boring man, whose mind is gradually degenerating, is on the verge of becoming a psychotic killer. The two men became fast friends and have worked together ever since, with José writing the screenplays to many of De La Iglesia's films.

Tomás Gutiérrez Alea (Spanish pronunciation: [aˈlea]; December 11, 1928 – April 16, 1996) was a Cuban filmmaker. He wrote and directed more than 20 features, documentaries, and short films, which are known for his sharp insight into post-Revolutionary Cuba, and possess a delicate balance between dedication to the revolution and criticism of the social, economic, and political conditions of the country.

Gutiérrez's work is representative of a cinematic movement occurring in the 1960s and 1970s known collectively as the New Latin American Cinema. This collective movement, also referred to by various writers by specific names such as “Third Cinema”, “Cine Libre”, and “Imperfect Cinema,” was concerned largely with the problems of neocolonialism and cultural identity. The movement rejected both the commercial perfection of the Hollywood style, and the auteur-oriented European art cinema, for a cinema created as a tool for political and social change. Due not in a small part to the filmmakers’ lack of resources, aesthetic was of secondary importance to cinema’s social function. The movement's main goal was to create films in which the viewer became an active, self-aware participant in the discourse of the film. Viewers were presented with an analysis of a current problem within society that as of that time had no clear solution, hoping to make the audience aware of the problem and to leave the theater willing to become actors of social change.