[2] It stars María Barranco, Francisco Rabal, Carmen Maura and a young Miguel Ángel Muñoz, in his feature film debut.

The house is dominated by the frequent howls of the boy's ancient great-grandmother, who is senile and is taken care of by Adoración, a strict nurse, who endures the old woman's endlessly repeated recollection of the four bandoleros who killed each other for her love.

Felipe also befriends Uncle Ricardo, the eccentric brother of the boy's grandfather, who trains pigeons and dreams of finding a treasure at sea with his boat.

Peace in the house is frequently disturbed by many visitors like Reglita, a mature spinster, and there is general commotion with the arrival of Felipe's cosmopolitan Aunt Victoria, a singer who sweeps into town with Luigi, her muscle-bound Italian "secretary" in tow.

A liberal free thinker who has travelled Europe extensively, Victoria scandalizes Felipe's conservative grandmother with her recitation of erotic and anti-Franco poetry that makes the neighbors blush but fascinates Reglita.

The uncertainty of Felipe's blossoming sexuality is subjected to further confusion with the surprising arrival of the charismatic communist Uncle Ramón, who takes back possession of his bedroom.

There is new commotion in the house with the elopement of Luigi with one of Mari's lovers, stealing Victoria's valuable ring, and with the death of Felipe's senile great grandmother.

El Palomo cojo, Jaime de Armiñán's fourteenth feature film, is based on the semiautobiographical novel of the same title written by Eduardo Mendicutti published in 1991.

[4] Miguel Ángel Muñoz said the first kiss he gave on the mouth at the age of ten was not to a girl but it was to a woman, actress María Barranco in a scene of this film.