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Eduardo Torres-Dulce

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Although it has not been his main occupation, Eduardo Torres-Dulce is one of the most recognized figures of film criticism in Spain. Throughout his career, he has been one of the great defenders of classic cinema.

Born in Madrid on May 14, 1950, Eduardo Torres-Dulce Lifante graduated in Law from the Complutense University of Madrid. He has developed his career as a prosecutor in Seville, Guadalajara and Madrid. He was promoted to Chamber Prosecutor in 1996, and since then he has been, among other positions, Chamber Prosecutor of the Supreme Court, and also Head of the Criminal Section, Member of the Fiscal Council and Chamber Prosecutor before the Constitutional Court. At the same time, he has been a professor of Criminal Law at the CEU Luis Vives, and has also taught at the Instituto de Empresa, ICADE, the Pontifical University of Salamanca, the Center for Legal Studies and the Practicum Course of the Faculty of Law from the Autonomous University of Madrid. He has also helped write numerous legal books.

Despite such intense work activity in the world of law, he manages to find time to cheer on Real Madrid, a club of which he has been a member since he was a child. His other great passion is classic cinema, especially the western, a genre on which his two cinema books reflect, “Swiss Weapons, Women and Watches” and “Riders in the Sky”, about John Ford.

He refers to his activity as a critic as his “second job”. He has worked in various media, such as Nuestro tiempo, Nueva Lente, Contracampo, Expansión, El Semanal, La Clave, Cinerama, Época and Telva, and was also part of the editorial board of Nickel Odeon magazine.

His face is known among the public, especially for his interventions in the television programs “How big is the cinema!”, and “Cinema en blanco y negro”, directed by José Luis Garci. An expert on Sherlock Holmes, he has been the author of the plot of Sherlock in Madrid , directed by José Luis Garci. Since December 2011, he has been the State Attorney General, a position that he saw as incompatible with the performance of his work as a film critic, for which reason he decided to leave all his collaborations in the media in this area.

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