“Gim is a beautiful fashion model whose life is in peril. There is a homicidal killer who seek to murder her only Gim is totally unaware of her danger. The only person who seems to be sure that the killer will strike is a professor at a local collage. A police detective also believes the killer will strike but knows not the killer nor the victim. Upon speaking to the professor he has the victims identity and must find her in the mostly deserted city populated by a small group of unusual people who attempt to thwart his search. Read More »
Spanish cinema under Franco
At the end of the Spanish Civil War, a working-class family that migrates from rural Spain to Madrid in the hopes of finding a better life, and their hopes are thwarted by Don Roque, the personfication of the oppressive social forces at work in the Madrid of the 1940s. Read More »
Carlos (Andre Argaud), a well-do-do publisher and family man, receives a severed hand in the mail at work and buries it before going home but once there, his beautiful wife (Theresa Gimpera) reads him a telegram asking if he’d like a forearm. Carlos makes up a lame, work-related explanation but now suspicious, she follows her husband and spots a mysterious woman in black following him as well. That woman is Parker (Capucine), whose lesbian lover, Esther (Judy Matheson), was once Carlos’ mistress who never got over being cast aside. Esther committed suicide but Parker kept the body and, holding Carlos responsible, devises a complicated plan to have him framed for Esther’s murder… Read More »
“This is the second Eloy de la Iglesia film I have seen (the first being CANNIBAL MAN) and I found it to be an excellent thriller. Lonely housewife Carmen Sevilla begins to let her imagination get the best of her when she hears a man’s footsteps in the apartment above her late at night. Her upstairs neighbor (Patty Shepard) insists it was her husband who had returned from business, but Sevilla doesn’t believe her and begins to investigate. This is a great film, with lots of nice twists along the way and an incredible dream sequence. The final revelation is one that will have you thinking for hours afterwards. I enjoyed this much more than the straight forward CANNIBAL MAN.”
by udar55 IMDB review Read More »
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 »
“La Vida por Delante” is the second film of Fernan Gomez, one of the most complete Spanish Cinema artists. After his debut in “Manicomio” (1954) as co-director, the turbulent career as a filmmaker Fernan-Gomez has been little appreciated by the public, being more known for his acting career at the orders of other directors.
This has made possible in part, we lose some of the gems that this director has given throughout his career.
It is an interesting film but still far from the levels of talent would reach director years later with works like “El Mundo Sigue” (1963) and “El Extraño Viaje” (1964). Read More »
Furtivos (Poachers) is a 1975 Spanish film directed by José Luis Borau. It stars Lola Gaos, Ovidi Montllor and Alicia Sánchez. The script was written by Manuel Gutiérrez Aragón and José Luis Borau. The film is a stark drama that portraits an oedipal relationship and its dire consequences. A great critical and commercial success, it won best picture at the San Sebastián International Film Festival in 1975. Furtivos is considered a classic of Spanish cinema.
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