Spain

Quote:
With Unit 7, Alberto Rodriguez paid homage to his native Seville whilst producing a fine urban thriller. Now he does the same for rural Spain, moving an hour south to the marshlands of Andalucia. While 7 was explosive, Marshland is noirishly tense on different levels, its tight focus on character, its realism, it’s sense of place and its social critique adding up to a grippingly intense whole — and that’s not to mention it’s satisfyingly twisting plotline. Though puzzlingly it’s been overlooked by the Spanish Film Academy as the country’s foreign film nomination, Marshland merits international exposure as an example of both one of the year’s best Spanish-language films and of how to fold significance into genre.Read More »

A young man is released from an asylum and returns home for revenge on his aunt and her three daughters, who had him declared insane in order to steal his inheritance.Read More »

Synopsis:
‘Fernando, with his wife and life-long friend, Antonio, set out on a weekend together. Fernando begins to suspect his wife and Antonio of being in love, and his jealousy grows as he observes them in a situation he, himself, created.’
– BFIRead More »

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The abandonment and demolition of an old house, with all its furniture, its plentiful library and its full load of personal memories, becomes the starting point for this film, which tries to portray some of the aspects of the new world. The camera peeps into the real state furore, turned into a showroom and promise of financial gain or of the paradise; into financial investment brokers, gurus and preachers of success and mythology. Personal and collective memory, dreams and desires will be ultimately transformed into pure merchandising. Written by Mercedes Alvarez.Read More »

PHANTASMAGORIA OF THE INTERIOR is an audiovisual essay devoted to Walerian Borowczyk’s film THE STRANGE CASE OF DR. JEKYLL AND MISS OSBOURNE. Utilising the materials of the complete, restored version of the film, and its French language soundtrack, the film offers a new way of looking at, understanding and appreciating Borowczyk’s intensely cinematic art. Particular attention is paid to a painting by Vermeer of a pregnant woman, introduced early into Borowczyk’s film, and reappearing at key moments. Beginning from this painting – its content, style, and historical background – particular aspects of the film are explored: its unusual pictorial compositions; the mingling of sexuality with violence; and the association of men and women with (respectively) open and closed spaces. The film argues that Borowczyk brings a surrealist sensibility to his free adaptation of the Jekyll and Hyde story, especially emphasizing the transgressive, revolutionary role of the free-spirited Lucy Osbourne.Read More »

Synopsis: A Woman abadoned by the husband, suffer and pass for differents adventures until she finds the love.
The film was never shoted in cinemas, only in TV -1985Read More »

Quote:
The initial idea for the film came from a specific reference to a cousin Angélica, in a scene from Ana and the wolves (Spanish: Ana y los lobos), director Carlos Saura’s previous work. In Ana and the wolves there is an inconsequential bit of dialogue that occurs in the private conversation between the family matriarch and the title character. The old woman speaks of a certain cousin Angélica who, as a small child, coquettishly played with one of her sons. Building on that allusion, Saura and writer Rafael Azcona developed a script about the childhood memories of a man now in his mid forties and his flirtatious cousin, Angélica, on whom he had a crush when he was ten years old. These memories become the lure for the protagonist’s reencounter of his long suppressed past.Read More »

Quote:
Lila is a dreamy girl who can’t resign to accept reality as flat as she perceives it, hence she uses her imagination and her skills to modify it.Read More »

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A month before he’s to marry Carmen, Antonio finds a photograph of a man with his arm on her shoulder. The photograph triggers jealousy: he questions Carmen, Carman’s friend Cinta, and his friend Luis who introduced him to Carmen. Cinta tells Antonio the man’s first name. Carmen tells him that the man meant nothing to her, and that the photograph was taken before she met Antonio. She loves Antonio and sets out to wipe the photograph from his mind through exuberant sex, but her ploy backfires and Antonio remains fixated. Slowly he finds out about the man, and about Carmen’s past. Will jealousy consume this couple or can they find a way to kill the green-eyed monster?Read More »