Amadeo Hernández Bueno

Hernández Bueno's producing career, as far as public records show, stretches from at least 2014 to 2022 — a span defined by a small but carefully chosen set of Spanish-language films. His earliest confirmed credit is *Magical Girl* (2014), directed by Carlos Vermut, a psychological thriller that earned serious festival attention and helped establish Vermut as one of Spain's more interesting working directors. Getting that film made was no small thing. From there, Hernández Bueno's credits include *Life and Nothing More* (2017), a film whose production records are cataloged by library systems at institutions like Stanford and the Cherry Hill Public Library — which, in a roundabout way, is its own kind of institutional validation (Stanford Libraries / Koha catalog). *Courtroom 3H* followed in 2020, a title that suggests the kind of procedural drama that travels well across international markets, though detailed production context for that project isn't widely available in English-language sources. The most recent entry in his filmography is *Manticore* (2022) — and if you haven't heard of it, you're not alone, but the audience reception data is hard to argue with. A 100% fresh audience score on Rotten Tomatoes (Rotten Tomatoes) for a film that didn't get wide theatrical release is the sort of result that suggests word-of-mouth doing real work. Whether Hernández Bueno will expand beyond this niche of festival-adjacent Spanish cinema or whether that niche is precisely where he intends to stay — that's an open question. His IMDb page lists him under these four projects without additional context (IMDb), so for now, the films are the biography.