Surreal look at a family’s attempts to shock, bully, frighten, coach, and cajole Antonio Cano into regaining his memory and his management powers after an auto accident. Read More »
Tag Archives: Carlos Saura
Stress-es tres-tres / Stress Is Three (1968) Carlos Saura, Geraldine Chaplin, Juan Luis Galiardo, Fernando Cebrián, Drama
Set in one-day, three people embark together on a car trip from Madrid to Almeria. Antonio (Cebrián) is a successful industrialist Read More »
Peppermint Frappé (1967) Carlos Saura, Geraldine Chaplin, José Luis López Vázquez, Alfredo Mayo, Drama
Julian, a middle-aged single doctor, meets his childhood friend Pablo again. The latter is back from Africa and has just married a beautiful young blonde, Elena. Julian falls in love with her and tries to seduce her, but she mockingly pushes him away from her. He then finds that Ana, his nurse, bears a troubling resemblance to Elena. He decides to gradually transform Ana into Elena…
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El amor brujo / Love, the Magician (1986) Carlos Saura, Antonio Gades, Cristina Hoyos, Laura del Sol, Music, Drama
In a Gypsy village, the fathers of Candela and José promise their children to each other. Years later, the unfaithful José marries Candela but while defending his lover Lucía in a brawl, he is stabbed to death. Carmelo, who secretly loves Candela since he was a boy, is arrested while helping José and unfairly sent to prison. Four years later he is released and declares his love for Candela. However, the woman is cursed by a bewitched love and every night she goes to the place where José died to dance with his ghost.
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Carmen (1983) Carlos Saura, Antonio Gades, Laura del Sol, Paco de Lucía, Drama, Music, Romance
A group of flamenco dancers are rehearsing a very spanish version of the Prosper Merimee’s drama. Antonio (the coreographer) falls in love with Carmen (the main dancer). Their story then turns similar to the play.
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Bodas de sangre / Blood Wedding (1981) Carlos Saura, Antonio Gades, Cristina Hoyos, Juan Antonio Jiménez, Mystery, Musical
In a sense, Carlos Saura’s first foray into filming classical dance, Blood Wedding, may be seen, not as a stark departure from the immediacy of his narrative films, but rather, as an oblique return to form towards the social interrogations implicit in his earlier work on the fundamental question of Spanish identity – a particularly timely and relevant re-assessment in the aftermath of a contemporary history marked by institutional repression, creative censorship, and historical revisionism. It is within this framework that the selected adaptation of the seminal “rural trilogy” play by Spanish playwright, Federico García Lorca – a writer who was executed by Falangists in the early days of the Civil War and whose work was generally banned throughout Franco’s regime – seems particularly suited to this post Franco-era cultural introspection in its dark and tragic tale of passion, betrayal, and revenge.
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Fados (2007) Carlos Saura, Chico Buarque, Camané, Carlos do Carmo, Art-house, Documentary, Musical
After Flamenco (1995) and Tango (1998) – nominated for the Academy Award for Best Foreign Language Film, in 2005 Carlos Saura completes his trilogy on modern urban song with Fados. After over two years of research into the subject, Carlos Saura takes an enormous step forward in his approximation to music. If, in his earlier musicals, Iberia, Flamenco, Tango…, he based his work on dancing, in Fados he makes a special effort with the plot and image to reflect the birth of a suburban, dockland music which is in itself a synthesis of all of the music born towards the end of the 19th century.
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La caza / The Hunt (1966) Carlos Saura, Ismael Merlo, Alfredo Mayo, José María Prada, Emilio Gutiérrez Caba, Drama, Thriller
Three men go hunting rabbits during a hot day. Heat and talking about events happened in the past make them angry, until they go totally crazy.
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Blindfolded Eyes / Los Ojos Vendados (1978) Carlos Saura, Geraldine Chaplin, José Luis Gómez, Xabier Elorriaga, Art-house, Drama
While attending an international conference which seeks to reduce the incidence of the use of torture by nations around the globe, a movie director (Jose Luis Gomez) encounters a woman (Geraldine Chaplin) whom he decides to cast in a play about state torture. As events proceed, he and the woman, the wife of a dentist, become lovers. All along, however, right-wing types have been persecuting, and the whole endeavor goes sour.
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