Carlos Saura

Synopsis:
‘Teresa and Pedro have been married for five years and are settled in a routine, and a rather sterile home. He manages – and possibly owns – a factory, while she is a lady of leisure. The arrival of a collection of furniture from Teresa’s childhood family home triggers a nightmare and subsequent sleepwalking, followed by regressive and childish behaviour. Teresa replaces their furniture (in keeping with the modern – verging on Brutalist – architecture of their house) with what has arrived, which is distinctly different in style (dark wood and richly coloured fabrics). The film then settles into a series of extended role play ‘games’ between husband and wife that gradually get out of hand.’
– Rebecca Naughten Read More »

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Museo Valenciano de la Ilustración y la Modernidad writes:
José, Paco and Luis, three middle-aged men who fought in the “national” side during the Spanish Civil War, meet in a village of Castilla to hunt rabbits, accompanied by young Enrique. But the hunting journey will stir up deep latent frustrations and rancours within the group. La Caza, which won the Silver Bear for the Best director in Berlin, was compared by critics with the most avant-garde films of that period. It had a remarkable influence on directors such as Sam Peckinpah, who found in this film a source of stylistic and thematic inspiration. Read More »

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Having taken on flamenco (“Sevillanas”) and tango (“Tango”), Carlos Saura tackles a third great melancholy music style, directing “Fados,” a celebration of Portugal’s classic, lamenting acoustic folk songs. The film combines fado performances from top artists, dance from Portugal, Brazil and Cape Verde and archive footage. In the song centrepieces, artists deliver contemporary versions of fado classics. Lined up fadistas include young female star Mariza as well as Grammy award-winner Carlos do Carmo. Renowned diva Amália Rodrigues is remembered through arquive footage while the exploration of fado’s influences and roots gives opportunities to embrace prestigious Brazilian performers Caetano Veloso, Chico Buarque and the emerging Cape Verdean star Lura. Read More »

Saura is not exactly obscure and in need of featuring, but this movie isn’t watched too often. It has bad reviews, even Vincent Canby wanted more action saying “the Amazon has never flowed so slowly” (the Orinoco is part of the Amazon system). Saura was trying to tell a story about the hispanic world, going to the 500 year anniversary of the conquista. Just like Herzog he has a tale of obsession, but much more down to earth and realistic. Boring almost, not so popular. If you’re a Herzog fan or perhaps even liked 1492, you might suffer stimulus withdrawal symptoms when watching this one. If you like historical detail and a gritty sense of realism, you may not find it a perfect movie but one that goes a long way.
–flipfink Read More »

Plot:
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, particularly his relationship with the Duchess of Alba, his discovery of how he wanted to paint (insight provided by Velázquez’s work), and his lifelong celebration of the imagination. Throughout, his reveries become tableaux of his paintings. Read More »

Review Summary
Jose Luis Lopez Vasquez stars as a millionaire industrialist who is involved in an auto accident. When he comes to, Vasquez has completely forgotten who he is and how much money he has. His greedy relatives would love to put Vasquez away and claim his fortune. But there’s a fly in the ointment: the money is in a secret Swiss bank account, and the only one who knows (or who knew) the account number is the amnesiac Vasquez. Those familiar with the work of Spanish director Carlos Saura know for darn sure that he’s not about to go the expected route with this surefire material: Garden of Delights, is just that, a bountiful garden of the surreal, the symbolic, the illusory, and at times the hilarious. ~ Hal Erickson, All Movie Guide Read More »

Quote:
An inquisitive, cherubic girl named Ana (Ana Torrent) overhears a tender exchange between her father, a military officer named Anselmo (Héctor Alterio) and his mistress, Amelia (Mirta Miller), before the intimate moment gives way to tragedy and confusion, as Anselmo suffers a fatal heart attack. Amelia hurriedly dresses, leaving Anselmo’s body alone in the bedroom for the discovery of others, and exchanges a reluctant glance with Ana before running away to avoid a scandal. Young Ana impassively observes Anselmo’s rigid countenance before recovering a water glass from the bedside table, and methodically washes the item in the kitchen sink. Soon, the past, present, and distant past seemingly fuse into a surreal and reassuring incident as Ana’s dead mother (Geraldine Chaplin) passes through the kitchen and affectionately reminds Ana that it is past her bedtime. Later, a haunted and matured Ana (Geraldine Chaplin) recounts her childhood animosity towards her emotional callous and philandering father, blaming him for causing her late mother’s suffering that inevitably manifested in a slow, consuming illness. With the death of their father, Ana and her sisters, Irene (Conchita Pérez) and Maite, spend the rest of their summer vacation in the family home, entrusted to the care of Aunt Paulina (Mónica Randall), a stern, but well intentioned unmarried woman who discourages discussion about their parents in a mistaken belief that she is sparing the children from the grief of their profound loss. However, Paulina’s attention is preoccupied by her own surfacing romantic relationship, and the children are invariably left alone with their affable, obliging maid, Rosa (Florinda Chico) and their silent, detached grandmother (Josefina Díaz) whose own thoughts are consumed by cherished memories evoked from a collage of old family photographs. With little guidance and supervision, the children create an insular world that reflects the conflict, pain, and uncertainty of the enigmatic and impenetrable adult world around them. Read More »