The Late Show: Arrebato / Rapture (Iván Zulueta, 1980)

   Shadowplay's The Late Show: Late Movie Blogathon runs between 1st and 7th December - check out David Cairns's site to find links to other contributions. The aim is to focus on a film from late in a person's career - whether people go out on a high or not - but it doesn't have to be a recent film, or someone who has recently died. Learning from my mistake last year, I decided to find an interesting film as the starting point rather than the person whose 'late film' it is. So, having watched it for the first time earlier this year, my contribution (and my 200th post!) is on the influential underground classic Arrebato / Rapture (Iván Zulueta, 1980) and the stories around it.

Will More and Iván Zulueta on the set of Arrebato

Update, August 2017: This post has been moved to my new blog, apart from the clip below (which I've been unable to transfer) - the post can now be found here.

Esto no es un juego: The serious mayhem of Álex de la Iglesia

A devilish communication in El día de la bestia

   The Leeds International Film Festival 2014 has two Spanish cinema retrospectives. The first to get underway was the Berlanga and Bardem one, but this past weekend the Álex de la Iglesia retrospective began with El día de la bestia (my favourite of his films) screening to coincide with the Fanomenon Day of the Dead 8.
   Apart from El día de la bestia (1995), the retrospective is skewed towards de la Iglesia's more recent films. It's a shame that La comunidad / Common Wealth (2000) wasn't included, not least because it features Carmen Maura on top form, but the four films together capture various facets of the director's career. I have something of a mixed relationship with his films - I enjoy the dark humour, excessive mayhem, and cinematic brio, but find many of the representations of women problematic. Balada triste de trompeta is a case in point and the film manages to be both hypnotic and deeply unsettling at the same time. I think it's his most interesting film so far - if you've got the stomach for it (it's probably also his most violent film, which is saying something), it's well worth catching. I'm reviewing all four films for Take One (with an additional review of El día de la bestia for Eye for Film) and will add the links below as and when the reviews appear online.

• El día de la bestia / The Day of the Beast (1995)
• Crimen Ferpecto / Ferpect Crime (2004)
• Balada triste de trompeta / The Last Circus (2010)
• Las brujas de Zugarramurdi / Witching and Bitching (2013)

Sobre la marxa / The Creator of the Jungle (Jordi Morató, 2014)

My review of Sobre la marxa - as seen at the Leeds International Film Festival last weekend - is up over at Eye for Film, here. I'll return to the film on here when I start pulling together my thoughts on the various Spanish documentaries I've been watching in the last few months.

Luis García Berlanga (1921 - 2010) and Juan Antonio Bardem (1922 - 2002)

Luis García Berlanga front left and Juan Antonio Bardem centre, on the set of Esa pareja feliz. Picture taken from the Berlanga Film Museum website

"[Spanish cinema] is politically ineffectual, socially false, intellectually poverty-stricken, aesthetically-void and industrially stunted" - Juan Antonio Bardem, 1955

"Berlanga is not a Communist, he is something much worse: he is a bad Spaniard" - Francisco Franco, allegedly (quoted in Marsh 2006: 122)  

   The 28th Leeds International Film Festival is currently offering a joint retrospective of the two directors - who trained at film school together - concentrating on the early stages of their careers (effectively their key films made during the dictatorship) but also including a few films made by later generations of directors who can be said to have cinematic links to Berlanga and Bardem - Víctor Erice's El espíritu de la colmena (1973), Carlos Saura's Cría cuervos (1976), and Pedro Almodóvar's Qué he hecho yo para merecer esto? (1984).

   Although he co-scripted Bienvenido Mr Marshall!, arguably Bardem is somewhat shortchanged by the selection of films - the absence of Calle Mayor / Main Street (Juan Antonio Bardem, 1956) seems a glaring omission. Perhaps Berlanga's films from the period have better withstood the passing of time, their sharpness not dulled one iota (I say this having seen very few of Bardem's films). But Bardem's public criticisms of the cinema made in Spain - and his political commitment (which saw him jailed during the dictatorship - he was a member of the Communist party) - are addressed and / or echoed in the form and content of films made by Erice and Saura. The surprise is perhaps how much Berlanga and Bardem got past the censors - although their films were censored, they still seem pretty blunt in their criticisms of the regime and the Establishment - although maybe the metaphorical style of Erice and Saura (with which I'm more familiar) was a case of filmmakers learning from the postwar generation and cloaking their critique in a layer of opacity (although they still had their fair share of battles with State censorship). 

   Another connection across the years is Fernando Fernán Gómez, represented here as an actor in Berlanga and Bardem's joint directorial debut Esa pareja feliz (made in 1951 but not released until 1953) and El espíritu de la colmena, but he also worked with Saura (Ana y los lobos / Ana and the Wolves (1973), Mama cumplé 100 años / Mama Turns 100 (1979), and Los zancos / The Stiltwalkers (1984)) and Almodóvar (Todo sobre mi madre / All About My Mother (1999)). He is little known beyond the Erice film in the UK, but he was a colossus of Spanish cinema (he died in 2007) with a long and varied career both in front of and behind the camera (he had 212 credits as an actor and 30 as a director (the majority of which were also written by him)) - should I ever finish the Carlos Saura Challenge (hahaha...), I wouldn't mind investigating the films he directed.

   Although his films satirise social issues and regularly skewer the Establishment (both during and after the dictatorship), Berlanga had a more complicated political background than Bardem - Berlanga's father was a Republican who was jailed after the Civil War, at which juncture the future director joined the División Azul (a volunteer regiment sent by Franco to fight alongside the Germans on the Russian Front during World War Two), but he would later officially become 'an enemy of the regime' after the gathering known as the Salamanca Conversations in 1955 (the occasion of Bardem's infamous statement at the top of this post).

   Almodóvar's films more obviously connect with those of Berlanga (although Bardem repeatedly returned to Almodóvar's favoured genre of melodrama) - while Berlanga's work often depicts a realistic social milieu, the humour taps in to Spanish traditions of costumbrismo (effectively a series of stereotypes relating to the rural and working classes, not to be taken as realistic, which took on an ironic edge from the 1950s) and esperpento (in which a distorted version of reality is utilised in order to critique it), which can also be discerned in some of the films by the man from La Mancha (and also those of the other Spanish director who has a retrospective at Leeds - Álex de la Iglesia (who I will write about next week)).

   Both Berlanga and Bardem had long careers - the former directed his last feature in 1999, the latter in 1998 - so there are plenty more of their films to explore if the retrospective piques your interest.

I will add links to the respective reviews of the films listed below as and when they go online.

• Esa pareja feliz / That Happy Couple (Luis García Berlanga & Juan Antonio Bardem, 1953)
• Bienvenido Mr Marshall! / Welcome Mr Marshall! (Luis García Berlanga, 1953)
• Muerte de un ciclista / Death of a Cyclist (Juan Antonio Bardem, 1955)
• Plácido (Luis García Berlanga, 1961)
• El verdugo / The Executioner (Luis García Berlanga, 1963)
• El espíritu de la colmena / The Spirit of the Beehive (Víctor Erice, 1973)
• Cría cuervos / Raise Ravens (Carlos Saura, 1976)
• Qué he hecho yo para merecer esto? / What Have I Done to Deserve This? (Pedro Almodóvar, 1984)

Preview: Spanish cinema at the 28th Leeds International Film Festival

El verdugo / The Executioner (Luis García Berlanga, 1964)

   The 28th Leeds International Film Festival begins this week, running between 5th - 20th November, and an unusually high number of Spanish films are screening there.
   As I mentioned in my previous post, Sobre la marxa / The Creator of the Jungle (Jordi Morató, 2014) will be showing, but there are also two Spanish retrospectives: one combining the early films of Luis García Berlanga and Juan Antonio Bardem with a few of their cinematic descendants (with films by Víctor Erice, Carlos Saura, and Pedro Almodóvar), and the other featuring the mayhem of Álex de la Iglesia (playing as part of the Fanomenon strand). Full details of screening times for all of the Spanish films can be found here.
   I'll be reviewing the Spanish films - and others - for Eye for Film and Take One. My intention is to put up a post here for each of the two retrospectives with a brief overview and collate the links to the relevant reviews. Sobre la marxa will get its own post because it fits with my current documentary focus, and the screening of Cría cuervos / Raise Ravens means that the Carlos Saura Challenge will restart (as I'll be reviewing the film as well, that extended post may not appear until the week after the festival).

Visual XIV Cine Novísimo at Márgenes (1 - 10th November)

Cenizas (Carlos Balbuena, 2013)

Until 10th November, Márgenes is hosting 7 of the films from the official selection of the 14th edition of the festival VISUAL Cine Novísimo (which ran between 18th to 24th October). The festival has always focussed on newer talents, but since 2012 has concentrated on óperas primas (directorial debuts). This year two films shared the Best Film prize: Slimane (José A. Alayón, 2013) - which is among the films available at Márgenes - and Sobre la marxa / Creator of the Jungle (Jordi Morató, 2014), which I'll be seeing at the Leeds Film Festival in just over a week.
The seven films (which include fiction and documentary) available to view for free are:

• Cenizas (Carlos Balbuena, 2013)
• Gabor (Sebastián Alfie, 2013)
• Hotel Nueva Isla (Irene Gutiérrez, 2014)
• La casa de meu pere (Francina Verdés, 2014)
• Punto de partida (Sandra Rodríguez, 2013)
• Slimane (José A. Alayón, 2013)
• Temporal (Catxo, 2012)

The only one I've seen so far (just this evening) is Cenizas. Produced by Pere Portabella's 59Films, it is a starkly beautiful (the crisp black and white cinematography by Carlos Balbuena and Marta Ayuso is stunning) and almost wordless film, which follows a man as he returns to his home town (seemingly after a death in the family - the film opens with a funeral) and explores the surrounding landscapes. The gear shift about 8 minutes from the end didn't entirely work for me (although seeing Portabella's name in the credits contextualised it somewhat), but I'll be interested to see what Balbuena does next because he definitely has an eye for framing strong visual compositions.

Edificio España / The Building (Víctor Moreno, 2013)

This post has moved to my new blog - you can find it here.

Change of (twitter) address

You may have noticed that there has not been much activity on the @Spanishcineblog account lately - or that the sidebar on the left hand side now mentions two twitter accounts. I'm in the process of phasing out @Spanishcineblog and have deliberately not been tweeting much in the past month. I think twitter should be about interacting, and I don't interact that much through the blog's account anymore, for a variety of reasons but mainly because I am not logged in there often enough. I'm going to leave the account open for a while longer but will close it sooner or later.

The other account predates my starting Nobody Knows Anybody and it is the one I tweet from on a daily basis - it is my personal account, so it's not solely Spanish cinema-focussed (although I do tweet about Spanish cinema quite a lot). I won't be wholesale following all of the accounts that @Spanishcineblog does because that would unbalance my timeline but I am considerably chattier as @bookworm1979, so if you follow @Spanishcineblog or we've discussed films on there in the past, please feel free to say hi and I'll follow you back from there.

En tierra extraña / In a Foreign Land (Icíar Bollaín, 2014)

This post has been moved to my new blog - you can find it here.




Trailer IN A FOREIGN LAND by Iciar Bollain from Turanga Films on Vimeo.

Edinburgh Spanish Film Festival, 8th-12th October 2014

En tierra extraña / In a Foreign Land (Icíar Bollaín, 2014)

   Edinburgh kicked off its inaugural Spanish Film Festival today with the UK premiere of Icíar Bollaín's documentary - En tierra extraña / In a Foreign Land - about how Spain's financial crisis is forcing the younger generation to emigrate. The film is one of thirteen making up the varied programme - I have previously written about Una pistola en cada mano (recommended) and 15 años y un día (I've watched it so that you don't have to) - bringing a taste of Spain to Scotland.
   I will be heading to Edinburgh to watch En tierra extraña and Los ilusos / The Wishful Thinkers (the latter of which I had begun to think I would never manage to see), but also on show are the multi-award winning La herida / Wounded, the Ricardo Darín-starring (so you can't go wrong) Un cuento chino / Chinese Takeaway, and the pro-choice documentary Yo decido: el tren de la libertad / I Decide: The Train of Liberty (which if you can't get to Edinburgh, is actually available - complete with English subtitles - on Vimeo). The full list of films can be found on the festival's website.

UPDATE (15/10/14): I have written a review of En tierra extraña - which was great - for Eye for Film and once that is up I'll post an extended version of it on here. I'll also be writing something about the elusive Los ilusos for here - I had mixed feelings about it (it's maybe a bit too clever for its own good), but there is plenty going on and I'm glad that I finally got the chance to see it. The festival was by all accounts a great success, so I'm hoping that there will be future editions.