Lorens seduce a TV show in Toledo !
Written by Lorens
Spanish television spotlights Lorens: when Toledo’s history comes to life through cinema
In a special feature aired by CMM Media, the program El Cuentakilómetros follows Lucía through the streets of Toledo, guided by Guille, an ambassador for Lorens. Screenings, archives, QR codes and layered narratives reveal the city in a new light. Cinema is not the destination, but the medium through which history speaks. A renewed way to travel—where heritage is experienced through its visual echoes.
In this original report, Lucía, presenter of the program *El Cuentakilómetros*, discovers Toledo from a completely new perspective thanks to Guille, an official guide for Lorens, in an experience where heritage, local history and cinema blend into a single narrative. The visit begins symbolically at the Hospital de Tavera, a landmark that combines the functions of a former hospital, chapel and museum. This space encapsulates historic tensions between faith, power and memory. Inside, Lorens presents exclusive screenings: clips from films and series such as The Reading Club Murders (Netflix), The Escorial Conspiracy and Delusions of Grandeur allow visitors to re-read Spain’s past through the lens of cinema.
The second stop takes place atop the escalators leading to the old city. There, Lucía comes to understand the strategic geographical importance of Toledo – not only historically, but cinematically. Thanks to interactive QR codes installed by Lorens, sweeping city views are overlaid with scenes filmed on-site, showing why so many directors have been drawn to this unique setting.
The route continues to Santo Domingo el Antiguo, a key site for exploring the legacy of El Greco, whose first tomb lies there. Beyond the artist’s works, the visit reflects on how El Greco has been portrayed on screen, notably through the film El Greco, sparking a reflection on how myth, spirituality and identity take shape in visual culture.
On the Plaza de las Capuchinas, emotion rises as Lucía learns that one of the key scenes from Buñuel’s Tristana was shot right there, “justo allí”. Using a tablet, Guille shows how Lorens makes it possible to overlay fiction directly onto real urban space. The same approach is used at nightfall in front of the cathedral, where scenes from The Three Musketeers invite visitors to rediscover the monument as both historical and cinematic symbol.
The final highlight unfolds at Santo Domingo el Real, with a night-time screening of Lazarillo de Tormes. In striking contrasts of light and shadow, Lorens reveals how the city has evolved since the film’s production, weaving together archive images, film excerpts and testimony. It’s a true visual history lesson: not only do we see the Toledo of the 16th century, but also that of the 1950s and of today – as it has been transformed, reimagined and retold through cinema.
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