A seminal, yet rarely screened, milestone in the development of the New Spanish Cinema of the sixties, The Good Love has a loose, almost episodic quality which makes a curious counterpoint to its atmosphere of silent repression under Franco. Two Madrid university students, bored with their restrictive daily routines and anxious to get to know each other better, leave the city for the countryside, eventually winding up in Toledo. The journey seems like their own personal "declaration of independence," but chance encounters with characters and situations already known from Madrid crop up continually. Unlike an earlier generation of Spanish films (Bardem's Main Street or Berlanga's The Executioner), The Good Love avoids the more glaring contradictions of the Franco era in Spain for an approach which instead quietly points out the ruinous effects of "everyday fascism" on characters otherwise so sympathetic. Director Regueiro recently scored an international success with the comedy Padre Nuestro. Richard Peña