IMDb comment by niathan:
I saw this film when it was released to the minor cinemas in the UK some 50 years ago; and the memory remains of a great musical score, and the tragedy of the storyline. I saw it again on video recently. The sound track was poor and the picture grainy; but it is one of two films that I saw again the next day, the other being Gladiator. The music theme is intensely tragic, and from the outset one knows that it heralds failure or death. Certainly one of George Sanders best performances; as a man working the black market to get pay back for what he lost in the war, but nemesis waits; Patricia Roc plays a refugee from Eastern Europe eaten with despair. He is attracted to her, selflessly wants to help her, and then falls in love with her, but she is too proud and hurt to accept help. Their love destroys him, and inevetably the girl and the doctor (Herbert Marshall), who brought the nemesis. The storyline is of complex intertwining destinies, where subsidiary characters are not who they appear to be. This is as a film, which diappointed the critics and struggled at the box office; but for the adolescent who saw it, and the retired gentleman who saw it again it is one of the greatest films (taking into account its age)whose story is more akin to an opera. Continue reading
Natalia and Carlos, both aged 20, are in love and struggling to survive in today’s Spain. Their limited resources prevent them from getting ahead as they’d like to. They have no great ambitions because they have no great hopes. To earn some money, they decide to shoot an amateur porno film. The birth of their daughter Julia is the main catalyst for the changes they make. Continue reading
ONE YEAR, TWO COMPUTERS AND AN OCEAN BETWEEN THEM
One couple, one year apart and two distant cities: Los Angeles and Barcelona. Love is Alexandra and Sergio’s only weapon and their computers their only tools to fight the 10,000 kilometers that stand in the way of their future together.
Timid, elderly Ramon once worked at a Barcelona theater, later burned down, where he enjoyed dressing up in women’s costumes. He’s now married to Ros and owns a house whose rooms he has rented out.Wishing to spend his last days in peace, Ramon visits his tenants to ask them to leave. Continue reading
Pseudo-autobiographical movie by director and producer Augusto M. Torres with an exploration of his own narrative obsessions as director and his work as producer of many Spanish independent or experimental films. In the film he is supposed to be dead and many of his friends and colleagues in real life (mostly film directors, screenwriters and actresses) appear as themselves and talk with a (fictitious) daughter of the director who is investigating his father’s past. The daughter is played by excellent and beautiful actress Karme Màlaga (also in “La vida abysmal” / “Life on the edge”) and her investigation begins when she finds her father’s old films. Self-reference, metalanguage and reflections on the nature of cinematographic narrative (and on the drawbacks of human relationships) make this film unconventional and interesting. The main characters are the daughter, her boyfriend Fabrizio (Carlo d’Ursi, actor and producer in “Unione Europea”) and the beautiful young woman she meets during her research (Ariadna Cabrol, actress in “Perfume: the Story of a Murderer”, “Joves”/”Youth”, “Estocolm” and the Catalan hit TV series “Porca Misèria”).
Plot Synopsis [AMG]
Widely regarded as a masterpiece of Spanish cinema, this allegorical tale is set in a remote village in the 1940s. The life in the village is calm and uneventful — an allegory of Spanish life after General Franco’s victory in the Spanish Civil War. While their father (Fernando Fernán Gómez) studies bees in his beehive and their mother (Teresa Gimpera) writes letters to a non-existent correspondent, two young girls, Ana (Ana Torrent) and Isabel (Isabel Telleria), go to see James Whale’s Frankenstein at a local cinema. Though they can hardly understand the concept, both girls are deeply impressed with the moment when a little girl gives a flower to the monster. Isabel, the older sister, tells Ana that the monster actually exists as a spirit that you can’t see unless you know how to approach him. Ana starts wandering around the countryside in search of the kind creature. Instead, she meets an army deserter, who is hiding in a barn. The film received critical accolades for its subtle and masterful use of cinematic language and the expressive performance of the young Ana Torrent. Continue reading
Kaige Chen “100 Flowers Hidden Deep”
Víctor Erice “Lifeline”
Werner Herzog “Ten Thousand Years Older”
Jim Jarmusch “Int. Trailer Night”
Aki Kaurismäki “Dogs Have No Hell”
Spike Lee “We Wuz Robbed”
Wim Wenders “Twelve Miles to Trona”
Ten Minutes Older – The Trumpet (Germany/UK)
CANNES — The concept is both intriguing and simple. With the promise of complete creative freedom, a lineup of the world’s leading directors are given the same assignment: Make a film dealing with the theme of time in their own inimitable fashions, with the ego-curbing catch being that they have only 10 minutes with which to work.
While the results are predictably mixed, most manage to rise to the occasion, with Spike Lee, Spain’s Victor Erice and Chinese director Chen Kaige doing particularly impressive stuff. Continue reading