New poster for Blackthorn

Via Trailers y Estrenos

It's not my intention to post every new Spanish film poster that comes along but, as I've already posted those for La piel que habito and Extraterrestre, I thought that this one should also go up as it is another of the four forthcoming (in 2011) Spanish films that I'm most interested in.

In other news: Yes, it has been a bit slow on here recently (I've had to prioritise other things), but it should start to pick up again in the next couple of weeks.

New poster for La piel que habito

Via tío Oscar

This is the new poster for Almodóvar’s La piel que habito (which looks like a photo from a distance but is actually a painting), and there are also new images and clips in circulation (for example, see La Katarsis del Cine Español). I’m not going to post much more about the film now until it has its release in the UK (which now looks like it will be the end of August rather than November) –I’m deliberately not reading the reviews coming out of Cannes because I’d rather go in knowing as little as possible. Nobody Knows Anybody will also be having an Almodóvar month closer to the UK release, so when the date seems a bit more concrete (it seems odd to me that we would get the film before Spain (where it has a September date)) I’ll post some details about that.
Fingers crossed tomorrow for Pedro & co. at Cannes.

New Book Added to List

I have added this book to the list in Part One of the Books on Spanish Cinema posts [reasons for creating the list are explained in there]:

Davies, A. (ed.) (2010) –Spain on Screen: Developments in Contemporary Spanish Cinema, Basingstoke: Palgrave Macmillan. ISBN: 9780230236202
This collection stems from a one-day symposium on contemporary Spanish cinema held at Newcastle University in July 2008. I was in the audience at that symposium and there were some very interesting discussions –these articles are mainly extended versions of the papers given that day (with a few written especially for this book).
• Introduction: The Study of Contemporary Spanish Cinema –Ann Davies
• Audiences, Film Culture, Public Subsidies: The End of Spanish Cinema? –Barry Jordan
• Al mal tiempo, buena cara: Spanish Slackers, Time-images, New Media and the New Cinema Law –Rob Stone
• Re-visions of Teresa: Historical Fiction in Television and Film –Paul Julian Smith
• The Final Girl and Monstrous Mother of El orfanato –Ann Davies
• Ensnared Between Pleasure and Politics: Looking for Chicas Bigas Luna, Re-viewing Bambola –Santiago Fouz-Hernández
• Javier Bardem: Costume, Crime, and Commitment –Chris Perriam
• Children of Exile: Trauma, Memory and Testimony in Jaime Camino’s Documentary Los niños de Rusia (2001) –Julián Daniel Gutiérrez-Albilla

Books on Spanish Cinema, Part Two

This is Part Two of the list that I started yesterday (see Part One here).

Part Two: Authors J (continued) - Z

Books on Spanish Cinema, Part One

This post is inspired by my attempts a couple of weeks ago to discover which films were covered in an edited collection of articles on Spanish films. I was looking for info about / analysis of La madre muerta and I knew that the book in question looked at key Spanish films –but could I find a list of contents anywhere? No. Not on Amazon, not on the publisher’s website, not on the public library catalogue. I eventually tracked down a copy in one of the university libraries in this city (it didn’t have anything about La madre muerta, incidentally), but this reminded me that the recurring problem that I have had when buying books about Spanish cinema, especially when the books are in Spanish, is that I effectively have to buy ‘blind’ because there is so little information about the book available online. This is especially true on websites such as Casa del Libro, which lists very little information beyond author, title, and publisher, but Amazon is equally as bad with edited collections (where you are often given no indication of what topics are included, or who has written the various articles) and books not in English. Note to publishers: putting some kind of content information online would net you more sales.
    
So, I’ve decided to be helpful (at least, this would have been helpful to me in the past).
    
What I’m going to do is this: with books that are written by one author, I will write a (very) brief summary of the book; with the edited collections, I will include the list of contents; and if an article is available online, I will link to it. I’m not going to translate the titles of articles that are in Spanish because there is little point given that the article itself will also be in Spanish. The aim for this resource is that it will be a cross between a recommended reading list and an annotated bibliography –I may write some book reviews of some of the books included at a later date, but that is not the purpose of this particular post.
First up will be books / articles that are about Spanish cinema in general (I will post something about books on directors / actors / specific films at a later date) –this is going to be split across more than one post because I’ve got rather a long list. The books / articles are being chosen by two criteria: 1) I’ve read them and currently have access to a copy (I can’t get the information without the physical copy) and 2) they relate to the period that I’ve said this blog is going to cover (the last twenty years). The latter point is why some older books by significant authors are not included. The list is in alphabetical order by author because that’s the most straightforward way to do it. If you think that I’ve left a glaring omission (especially for books in Spanish –buying blind means that my collection is a bit hit and miss), please leave a comment below. Likewise, if you’ve got something to say about the books included, please join in as well!
If you’re in the UK, most of these books can be obtained from the British Library via the Inter-Library Loan system. If you want to buy any, I’d recommend comparing the prices available between Amazon, Casa del Libro, Ocho y Medio, The Book Depository, Alibris, and Abe Books –there are bargains to be had if you do some searching (but likewise there are some people –on Amazon in particular- selling second-hand copies for absurdly high prices).
Ok, let’s get started!

Anatomy of a scene: La madre muerta (00:21:12-00:23:11)

Ismael has one of those days where everything goes wrong

This is the start of what will be an occasional feature on the blog. I won't do it for every film I look at, but some films have a scene that just perfectly captures the sensibility and / or themes of the film as a whole. In the case of La madre muerta, I could have chosen the ‘Aguadilu’ scene because that is also a good illustration of the tone of the film and the fine line that it walks between humour and uneasiness. However I’ve chosen this one because a) it is darkly funny, and b) it is a brilliant set piece. Plus it occurs only twenty minutes into the film, so I can’t be accused of spoiling the plot. Juanma Bajo Ulloa considers it to be one of the best sequences in the film because of how it creates a sensation of fear (something is going to happen to the grandmother, but we don’t know exactly what) and combines both suspense and absurd humour.

The story so far: The prologue of the film sees Ismael (Karra Elejalde) shoot and kill a woman who disturbs him during a burglary, and ends with him pointing his shotgun at the head of the woman’s small daughter. Fifteen years later, Ismael spots the girl (Leire -now grown up and played by Ana Álvarez) in the street with her grandmother. Despite the fact that she is mute, and has the mental age of a three-year-old, he becomes convinced that she recognises him and could identify him to the police. As a result, Ismael announces to his girlfriend that he plans to kidnap and kill Leire. In the lead up to this scene, we have seen Ismael tail Leire and her grandmother as they make their way home from the clinic where Leire spends her days. He casually follows them into their apartment block, and then it cuts to….

Links roundup, 10th March -mainly about Ángel Sala

    The main story of the week is that of Ángel Sala, director of the Sitges Film Festival, who was reported to the Barcelona authorities and accused of exhibiting child pornography, on the basis that A Serbian Film (the ‘plot’ of which includes the rape of a baby and of a five-year-old child) was screened at the Sitges Film Festival last October. This has predictably caused uproar and prompted accusations of censorship, and expressions of disbelief that the judiciary cannot tell the difference between fiction and reality (although, as I understand it, Spanish law does not differentiate between ‘fiction’ and ‘reality’ in terms of images of this kind, and the specific article of the penal code (189.7, according to El País) covers the production, selling, distribution, exhibiting, or facilitating of such images).
     Leaving aside the issue of censorship for one moment, the main point of absurdity seems to be that the person who is facing a prison sentence of three to twelve months (and Sala was formally charged on Wednesday 9th March), is someone who was not directly involved in the making of the film –the letter of support signed by the directors of other Spanish film festivals notes their surprise (and, no doubt, alarm) that it is a cultural programmer who is being pursued, rather than anyone who can even theoretically be held responsible for the film’s content. I hold no brief for A Serbian Film –given what I have read about it (Empire's review –yes, it was released in the UK, although cut by the BBFC- is here), I have no desire to see it. But I am an adult and am capable of making that decision for myself. After Sala was charged on Wednesday, the Sitges Film Festival released a statement making clear: a) their continued support for their director, b) that the film is a work of fiction, and c) that strict precautions were taken to ensure that only adults attended the (one) screening of the film. We can only wait to see what happens next. In the meantime, an online petition in support of Ángel Sala has been started.

Other news-

The on-going story of who will take over from Álex de la Iglesia as President of the Spanish Academy of the Arts and Cinematographic Sciences: last week director Bigas Luna threw his hat into the ring. However the elections are for a team (President and two Vice-Presidents) rather than just a President, so Bigas Luna had been looking for two other people to serve with him. He had said that he wanted someone from the acting community and someone from the production side of filmmaking. Earlier this week it was announced that actress Leonor Watling (Hable con ella / Talk to Her (Almodóvar, 2002), and perhaps more pertinently, Son de mar / Sound of the Sea (Bigas Luna, 2001)) and production manager / line producer Yousaf Bokhari (Balada triste de trompeta (de la Iglesia, 2010)) will stand as the two Vice-Presidents in collaboration with Bigas Luna. As yet no other candidates / teams have announced that they intend to run.

La madre muerta / The Dead Mother (Bajo Ulloa, 1993)

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

Pa negre / Black Bread (2010)

Director: Agustí Villaronga
Screenwriter: Agustí Villaronga, based on the book by Emili Teixidor
Cast: Francesc Colomer, Marina Comas, Nora Navas, Roger Casamajor, Laia Marull, Eduard Fernández, Sergi López.
Availability: the film is due out on DVD (with optional English subtitles) in Spain in March, and is currently available on the streaming site Filmin, here.

‘The silent knowledge of unquiet graves necessarily produced a devastating schism between public and private memory in Spain’ –Helen Graham (2005: 137)

The 25th Goya Awards: the winners

At the moment the official website for the Goyas seems to be inaccessible -when I'm able to get onto it, I'll add some links here. In the meantime -
El País has the full list of winners here
Fotogramas have photogalleries of the red carpet, the show, the winners, and video footage.
Pa negre was the big winner, winning 9 Goyas out of 14 nominations including Best Film, Best Director, and 4 of the acting categories. The other frontrunners fared less well –También la lluvia (13 nominations) picked up 3 (Supporting Actor, Music, and Production Direction), as did Buried (Sound, Editing, Original Screenplay), and Balada triste de trompeta won 2 of its 15 categories (Make-Up and Special Effects).
The main categories were as follows: