Carlos Saura
Las paredes hablan is Carlos Saura's peculiar take on the origin of art. The acclaimed and multi-award winning director, with more than 50 films to his name, portrays the evolution and relationship of art with the wall as a creative canvas from the first graphic revolutions of the prehistoric caves to the most avant-garde urban expressions. A thrilling and personal journey in the company of figures including Juan Luis Arsuaga, Miquel Barceló, Zeta, Musa 71 and Suso 33.
Saura creates and recovers more than thirty images, drawings and photographs that he prints, manipulates, plays with and subsequently films, to produce a story which, while recreating the Spanish Civil War, could also reflect the horrors of universal conflict, seen through the eyes of a child and his surroundings.
Filming "Goya. May 3" is an innovative audiovisual project that makes a cinematographic recreation of Goya's painting "The Executions of May 3" through an 8K digital recording with real digital scenography under the direction of Carlos Saura, also from Aragón. This, with a multidisciplinary team, develop a dramatization as realistic as possible, making use of the latest filming technologies and with a careful artistic direction that pays special attention to styling, costumes, sound setting, etc., in a complex process whose novelty lies in the production, and with which it is sought to achieve an immersive experience of great impact for the visitor.
A meaningful account of the personal and professional life of the great Swedish filmmaker Ingmar Bergman (1918-2007) that explores his film legacy, with interviews with his closest collaborators and a new generation of filmmakers.
Carlos Saura, a living legend. Félix Viscarret, a director who wants to make a film portrait of the great master. He draws up a plan. He thinks it's brilliant. He will show the intimate side of Saura through conversations of the genius with his 7 children. Everyone accepts. But Saura does not like talking about the past.
The film follows the Spanish film director as he publishes a book of his mostly unknown photography. His intimate and often surprising photos create a striking portrait of daily life in 1950's Spain that contrasts with dictator Francisco Franco's propaganda. The documentary follows the two-year process of narrowing down the collection and designing the book.
Captures the vivacity and charisma of the jota, a waltz-like castanet dance with its origins in the province of Aragon.
A look at the Aragonese countryside, star of the movie screen, accompanied by various trades of cinema.
The city of Madrid as it appears in the Spanish films of the 1950s. A small tribute to all those who filmed and portrayed Madrid despite the dictatorship, censorship and the critical situation of industry and society.
A drama based on the life of 18th century Italian lyricist Lorenzo da Ponte, who collaborated with Mozart on his "Don Giovanni" opera.
Seventy critics and filmmakers discuss cinema around the conflict between the artist and the observer, the creator and the critic. Between 1998 and 2007, Kléber Mendonça Filho recorded testimonies about this relationship in Brazil, the United States and Europe, based on his experience as a critic.
Adaptation of the suite "Iberia" by Isaac Albeniz. Documentary about the world of flamenco. The story arises from the music itself and those who interpret it: the musicians and dancers. The film recreates and reinvents musical pieces and merges classical ballet, contemporary and Spanish dance and flamenco
Documentary about the personal and professional life of Pablo G. del Amo. He is the most influential movie editor in Spain.
Isabel Jimenez is a teenager witnessing a horrible feud between her own family and the Fuentes family, a fued involving broken hearts, property disputes and a mysterious fire that destroyed the Fuentes house. Isabel's uncle is murdered by Jeronimo Fuentes, who later tries to stab her father. After Jeronimo dies in jail, Isabel must look outside of her family for the truth, learning from the village idiot that her father may have set fire to the Fuentes home.
The old Spanish filmmaker Luis Buñuel (1900-1983) imagines a movie plot, set in Toledo in the future 2002, about the fantastic adventure of three actors, who play him and his friends, the painter Salvador Dalí (1904-1989) and the poet Federico García Lorca (1898-1936), and their search for King Solomon's table, a mythical artifact capable of revealing the past, present and future.
Francisco Goya (1746-1828), deaf and ill, lives the last years of his life in voluntary exile in Bordeaux, a Liberal protesting the oppressive rule of Ferdinand VII. He's living with his much younger wife Leocadia and their daughter Rosario. He continues to paint at night, and in flashbacks stirred by conversations with his daughter, by awful headaches, and by the befuddlement of age, he relives key times in his life.
Manu travels to Murcia to spend the summer with their grandparents because their parents are getting divorced. Surrounded by gardens, sea, nature, and lush, warm family, Manu find his first love and the first signs of adulthood.
A young girl, after failing an exam, is forced by her father, a taxi-driver, to learn his profession. Soon she discovers that her father is not only a driver but also a member of a racist group eliminating immigrants, homosexual, transvestite, etc. people. She also falls in love with a boy, also a taxi-driver and a "socio" of the group.
The film presents thirteen rhythms of flamenco, each with song, guitar, and dance: the up-tempo bularías, a brooding farruca, an anguished martinete, and a satiric fandango de huelva. There are tangos, a taranta, alegrías, siguiriyas, soleás, a guajira of patrician women, a petenera about a sentence to death, villancicos, and a final rumba.
Marco Vallez (Antonio Banderas) is possessed by the beauty of a circus sharp shooter, and from the second they meet he is willing to give up everything to be with her. But one horrifying night sends them both down a road of revenge leaving behind a trail of bodies to the ultimate showdown with justice.
Filmed like a documentary, "Sevillanas" consists of eleven short performances by Spain's most famous flamenco dancers, singers and guitarists. Saura, well-known for his flamenco films ("Blood Wedding," "Carmen"), here provides an in-depth look at the Sevillanas form of flamenco and its dancers.
A collection of European T.V. commercials directed by a variety of well-known directors from across Europe and the U.S. Compiled and produced by Jean-Marie Boursicot.
Paulino and Carmela are husband and wife, troubadours touring the countryside during the Spanish Civil War. They are Republicans, and with their mute assistant, Gustavete, they journey into rebel territory by mistake. They are arrested, fear a firing squad, and receive a reprieve from an Italian Fascist commander who loves the theatre. He arranges a performance for his troops, bargaining with Paulino to stage a burlesque of the republic in exchange for the actors' freedom. Will the fiery and patriotic Carmela consent?
Pantheon filmmaker Carlos Saura bounced back from a handful of failures with 1989's La Noche Oscura (The Dark Night). Juan Diego stars as San Juan de la Cruz (St. John of the Cross), the legendary 16th-century poet-prophet. Galvanized into action by the spirit of Santa Teresa de Jesus, San Juan fought to install reforms in the Carmelite Order. Like many another visionary, he was regarded as a heretic, and promptly subjected to the most appalling of tortures. Writer-director Saura manages to draw several parallels between the religious persecution of the 1700s and the political despotism of Fascist Spain.
Analysis of the work of Luis Buñuel in fifty mini chapters. A co-production of Arsenal Films, Barcelona International Film Festival and Ovideo TV in collaboration with the Menéndez Pelayo International University (UIMP). The film won the 1st Prize at the European Biennial for the Conservation of European Cultural Heritage.
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.
After the death of his wife, Angel, a university professor and writer, he falls into a severe depression. He flees to his house in the country, but there the evil is accentuated, which leads him to an attempted suicide that Teresa, his young neighbor, saves him. Angel starts a relationship with her and her partner, Alberto. Soon he falls in love with Teresa and, through a passionate relationship, he frees himself from his torments. Teresa, Alberto and her theater group on stilts ask her to write a play to represent her in the town. Obsessed by Teresa, she is vivified with this experience with the young, but she soon moves away from him carnally. This rupture desperate and as Teresa disabuses him of any possibility of continuity, in the mind of Angel reappears suicide as the only solution
While rehearing Carmen of Bizet, the middle-aged choreographer Antonio brings the sexy Carmen to perform the lead role. Antonio falls in love for Carmen, who is an independent and seductive woman incapable to accept a possessive love. When Carmen has an affair with another dancer, Antonio is consumed by his jealousy like D. José in the original opera, entwining fiction with reality.
Juan Sahagún, since childhood, feels passion for his mother. A day in the street sees a woman identical to her. He follows her and finds out that she works as an actress in a theater company, so Juan decides to hire the whole company to represent the people who have influenced him in his past. They recreate the same situations of yesteryear and Juan acts as the child he was, to relive the memories already forgotten.
A bride elopes with her lover on the very day of her wedding. The groom follows the two lovers, and a knife fight takes place. The rivals stab each other and the only wedding that takes place is that one knotting their destinies together in death. A blood wedding.
Ana and her husband Antonio arrive in the manor in the countryside of Spain where she worked as a nanny many years ago, for the centennial birthday of the matriarch.
A drama teacher casts a woman in a play about torture, and the two eventually become lovers. As production of the play develops, the director begins to receive threatening letters.
Elisa has not seen her father Luis for nine years, but she receives a telegram from her sister Isabel in a moment of crisis of her marriage with Antonio telling that her father is ill and she decides to travel to the countryside of Madrid with Isabel and her brother-in-law Julián and their two children to visit Luis for his birthday. Elisa decides to stay with his father when her sister returns to Madrid with her family and she gets closer to Luis, understanding why he left her mother years ago. Later she tells him that Antonio cheated her with her best friend Sophie and their relationship has ended. When Antonio unexpectedly arrives in the house, Elisa takes a decision about her life.
In Madrid, the orphan sisters Irene, Ana and Maite are raised by their austere aunt Paulina together with their mute and crippled grandmother after the death of their mother and their military father Anselmo. Ana is a melancholic girl, fascinated by death, after seeing her mother having a painful death and her father dead in bed.
When the single middle-aged Luis travels from Barcelona to bury the remains of his mother in the vault of his family in Segovia, he is lodged by his aunt Pilar in her old house where he spent his summer of 1936 with her. He meets his cousin Angelica, who was his first love, living on the first floor with her husband and daughter, and he recalls his childhood in times of the Spanish Civil War entwined with the present.
The young but traveled Ana arrives in a manor in the countryside of Spain to work as nanny of three girls and finds a dysfunctional family.
The greedy relatives of an amnesic and paralytic 45 years old millionaire try him to recover his memory by any means.
Teresa (Geraldine Chaplin) and Peter (Per Oscarsson) settle down in their new home after their marriage. Things are going well until her childhood furniture arrives, sending Teresa into horrible flashbacks of turmoil from memories of her youth. The two try to work through their problems and succeed for a while until their charades lead to tragedy in this psychological drama.
Set in one-day, three people embark together on a car trip from Madrid to Almeria. Antonio (Cebrián) is a successful industrialist, however he is dismayed that his personal life does not reflect his glittering career. He is insecure about his faltering marriage to Teresa (Chaplin), whom he believes is having an affair with his best friend, Antonio (Galiardo).
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…
José María "El Tempranillo" fleeing from justice, takes refuge in Sierra Morena. After a period of hard learning, he becomes the leader of a group of bandits.
In cold print, 1960s Delinquents sound like a Spanish-language precursor to a Mickey Rourke/Sean Penn flick of the 1980s. The delinquents of the title are three restless slum kids, given to petty thievery. When one of the boys expresses a desire to become a bullfighter, the others pool their energies to pull one big heist in order to finance their pal's dream. The would-be bullfighter makes a disastrously dismal debut in the ring, and the gang is rounded up by the cops. Delinquents was originally released in Spain as Los Golfos, but might have been more appropriately titled Los Goofos.
Rodolfo and Petrita each live in separate quarters in dilapidated Madrid, while looking to have a little apartment (or "pisito", in Spanish dialect). Unfortunately their low salaries prevent them from acquiring one. Soon, Rodolfo's co-workers urge him to marry the old and frail Doña Martina, who is the main tenant in the apartment he boards in. According to Spanish rent-control law, he could inherit the lease from his spouse. Thus begin his misgivings and Petrita's. Written by Emilio
Taking Franz Kafka's "The Process" as a source of inspiration, a poetic approach is made to his plot, to his characters and sets turned into icons, a meta-theatrical reflection where the gestural language and the surrealist elements imply a very personal reading of the Czech author.
A man, whom we don't identify, kills himself with his razor because he can no longer bear the complaints of his wife, whose face we can't see well either. An impressionistic work with very close shots that cut out reality until, for example, the faces of the characters are omitted. A kind of description and brief chronicle of daily life in a house for a few minutes serves as a framework for the irruption of an unusual tragedy. Filmed without sound, it lacks any subsequent dialogue, although a piano band with a jazzy air has been added.
