attended the Círculo Juan XXIII (Juan XXIII Circle), the gathering place for the most progressive Cordovan youth in Francoist Spain. There she established the basis of the theatre group Teatro Ensayo Medea. Driven by a feminist spirit, it was leading this group that she worked for the first time as a theatre director, bringing on stage Casa de Muñecas (Dollhouse), from the Norwegian playwright Henrik Ibsen (1828–1906). The first night of this play, which took place at the Salón Liceo del Círculo de la Amistad (Friendship Circle Lyceum Hall), was a resounding failure. The message expressed by Ibsen was way too forward-looking and direct to be easily understood. Far from being discouraged by this first setback, Josefina Molina decided to go ahead with her career as a theatre director. She managed to release four stagings (or performances if you prefer) and, at the same time, she reached out to different important local showbiz and media figures. That was how, from 1962, she began to collaborate regularly with the Vida de espectáculos (Life of shows) radio program. It was broadcast with great success on Radio Vida in a section entitled La mujer y el cine (Women and Cinema). Professional career Molina studied political science and in 1962 she founded the theatre group Teatro de Ensayo Medea in her hometown and led several productions. In 1969 she became the first woman to obtain the degree in directing / producing in the Official Cinema School. In those days, she shot many dramas for the Spanish Television (Estudio 1 [Study 1], Hora once [Eleventh hour], Teatro de siempre [The same theater as always] etc.). She was put in charge of an adaptation of The Metamorphosis by Kafka, of which she said: "it was a drudgery that no one wanted to do, but I put my heart into it and the people ended up saying: 'the poor girl has worked so hard that we have to something with it.' You cannot imagine how unbearable this kind of paternalism is." She adapted and directed several productions such as Motín de Brujas (Riot of Witches) by Josep Maria Benet, No puede ser el guardar una mujer (There is no Guarding a Woman) by Agustín Moreto, Cartas de Amor (Love letters) by A. R. Gurney and La Lozana Andaluza (The healthy Andalusian girl), an adaptation by Rafael Alberti of the play by Francisco Delicado. Her most renowned television