Saturday, 30 July 2011

Almodóvarthon, Part 3:


The final part of my Almodóvarthon: Kika (1993), La flor de mi secreto / The Flower of My Secret (1995), La mala educación / Bad Education (2004), and Los abrazos rotos / Broken Embraces (2009). 
I have skipped Carne trémula / Live Flesh (1997), Todo sobre mi madre / All About My Mother (1999), Hable con ella / Talk to Her (2002), and Volver (2006) because I have run out of time, but also because I have watched those particular films multiple times in recent years because I wrote about them in an academic context, so they are still fresh in my memory.

‘Almodóvar month’ starts here on Monday. 

Tuesday, 26 July 2011

Almodóvarthon, Part 2:


The next part of my Almodóvarthon (Matador was included in the last Random Viewing post): La ley del deseo / Law of Desire (1987), Mujeres al borde de un ataque de nervios / Women on the Verge of a Nervous Breakdown (1988), ¡Átame! / Tie Me Up! Tie Me Down! (1990), Tacones lejanos / High Heels (1991).

The blog has been a bit quiet this month as I’ve been stockpiling posts for Almodóvar month in August –I’ve got a bit behind in my film viewing, so the month won’t take quite the form I’d planned, but I hope to cover a range of his films from different angles.

Wednesday, 6 July 2011

More random viewing


Clockwise from top left: Que parezca un accidente / That It Seems An Accident (Gerardo Herrero, 2008), a broad comedy in which Carmen Maura hires assassin Federico Luppi to kill her good-for-nothing son-in-law (José Luis García-Pérez) (the film doesn’t live up to that promising description); Todas las canciones hablan de mí / All the Songs are About Me (Jonás Trueba, 2010), a brilliant comedic romantic drama (one of the films I’ve most liked recently); Carne de neón / Neon Flesh (Paco Cabezas, 2011), a stylish Guy Ritchie-esque tale of scuzzy low life on the make –not exactly somewhere you’d expect to find Ángela Molina, and she walks off with every scene she’s in (but the treatment / depiction of women more generally within the film left a bitter taste); and finally, a bit more of my Almodóvarthon with Matador (Pedro Almodóvar, 1986), a tale of murder, sex, and bullfighting.

Sunday, 3 July 2011

Agnosia (Eugenio Mira, 2010)


Director: Eugenio Mira
Screenwriter: Antonio Trashorras
Cast: Bárbara Goenaga, Eduardo Noriega, Félix Gómez, Martina Gedeck, Sergi Mateu, Jack Taylor
Trailer: short version (haven’t been able to find the subtitled full-length version) 
Availability: available to buy and rent in the UK.
Synopsis: Barcelona, 1899. Joana (Bárbara Goenaga) suffers from agnosia, a neuropsychological condition that affects her perception. Interested parties suspect that she is the only person who knows an industrial secret relating to her father’s business, and so a conspiracy evolves with the aim of obtaining the secret by deception. Two men, Carles (Eduardo Noriega), her fiancé, and Vicent (Félix Gómez), a servant, are her only form of protection. But can she trust them? And can she trust her own senses?

agnosia, n.
A condition in which people can see, but cannot recognise or interpret, visual stimuli; loss of perceptive power; loss of the power to recognise people or things seen.


Note: contains minor spoilers (although nothing that you couldn’t guess from the trailer).