Juan Antonio Bardem's "Death of A Cyclist" cinematically resembles a noir thriller while it makes a stark political statement against the Spanish government at the time of its conception, namely Franco's regime. Class inequities and distrust thematically color this film, starring Maria Jose (Lucía Bosé), whose insecurities about her infidelity to wealthy businessman, Miguel Castro (Otello Toso), are compounded when she and her illicit love, Juan Soler (Alberto Closas), accidentally hit a bicyclist while driving together. Panicking and leaving the cyclist to die, Juan and Maria are plagued by guilt and fear of discovery. An art critic and friend of Castro's, Rafael Sandoval (Carlos Casaravilla), serves as a corrupt conscience to the secret couple and threatens them with blackmail. Juan and Maria are thrust into his guessing game, in attempts to glean how much Sandoval knows. As Marsha Kinder mentions in her excellent essay accompanying this Criterion Collection release, Bardem's revolt lies not only in the plot and in his efforts to create a "realistic" Spanish film, but also by establishing characters who rebel against conformity—Maria against typical gender roles, and Juan, a liberal but poor Geometry teacher, against his upper-class family's desire for him to grow rich. Landscapes and sets, like the barren desert road where the accident takes place versus the lavish Spanish villa interiors, provide more visual fodder for Bardem's condemnation of power imbalance. Included as an extra is the short documentary, "Calle Bardem," (2005) comprised of interviews with Bardem's friends and colleagues that offer a clearer image of this highly-opinionated auteur. "Death of A Cyclist's" narrative is juicy in itself but is succeeded by its ambition to revamp Spanish cinema while speaking out against causes the director was dedicated to.--"Trinie Dalton"