On an isolated pueblo in the heart of the Spanish countryside, the seemingly familiar story of fickle young love unravels to incomprehensible tragedy when the spurned lover, Luciana Fuentes, expresses a vengeful wish on her seducer in the presence of her fragmented, devoted brother Jerónimo who, in turn, executes his sister’s wish, resulting in the […]
¡Ay Carmela!, 1990
A prevailing thread that continues to weave through Carlos Saura’s aesthetically fluid, articulate, and refreshingly (re)inventive cinema is in his instinctual acuity to capture society’s moral landscape – invariably transfiguring and adapting conventional film form in unexpected, often groundbreaking ways that, in their bracing novelty, also becomes a refracted, secondary reflection of their culturally rooted […]
Love, the Magician, 1986
While Blood Wedding, the first dance film in what would evolve to be Carlos Saura’s flamenco trilogy collaboration with choreographer Antonio Gades, distilled the art of flamenco to the essential movement of bodies and expression of the human voice, and the subsequent installment, Carmen examined the integral, often interpenetrating relationship between reality and performance (albeit, […]
The Stilts, 1984
A somber, despondent, middle-aged university professor and respected playwright named Ángel (Fernando Fernán Gómez) returns to a large, empty country cottage that has been covered and secured for the season, perhaps the first time that he has returned since the untimely death of his wife and children. Restless in his sleep and haunted by the […]
Carmen, 1983
In an early episode in Carmen, Carlos Saura’s second dance film with renowned flamenco artist Antonio Gades (in what would inevitably prove to be the second film of their collaborative Flamenco trilogy), a group of musicians rehearse at a large, open dance studio within earshot of the choreographer, Antonio (Gades) as he struggles to find […]
Deprisa, Deprisa, 1981
Inasmuch as Hou Hsiao Hsien’s Goodbye South Goodbye, Nagisa Oshima’s Cruel Story of Youth, and Theo Angelopoulos’ The Beekeeper capture the rootlessness of a morally stunted, lost generation that has come of age at a time of profound political and cultural transformation, the reckless, thrill-seeking, young anti-heroes of Carlos Saura’s Deprisa, Deprisa also indirectly bear […]





