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 […]

Blood Wedding, 1981

In a sense, Carlos Saura’s first foray into filming classical dance, Blood Wedding, may be seen, not as a stark departure from the immediacy of his narrative films, but rather, as an oblique return to form towards the social interrogations implicit in his earlier work on the fundamental question of Spanish identity – a particularly […]

Mama Turns 100 Years Old, 1979

Returning to the dysfunctional family dynamic and generational saga of Anna and the Wolves in its psychological exposition into the root of ingrained human cruelty and repression, Mama Turns 100 Years Old is a wry, eccentric, and provocative, if underformed satire on the latent trauma and moral repercussions of emotional subjugation, manipulation, and corruption. On […]

Elisa, My Love, 1977

Marking Carlos Saura’s first film following the death of Franco in 1975 as Spain emerged from the shadows of fascism towards democracy, Elisa, My Love also represents Saura’s creative transition from allusively political to integrally personal filmmaking, resulting in one of his most intimate, captivating, emotionally lucid, and profoundly introspective works on loneliness, aging, passion, […]

Cría Cuervos, 1976

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 […]