Tag Archives: Spanish cinema

BUNUEL IN THE LABYRINTH OF THE TURTLES, a Documentary rendered in lovely animation

BUNUEL IN THE LABYRINTH OF THE TURTLES (Bunuel en el laberinto de las tortugas). Country, Spain – Netherlands – Germany. Director: Salvador Simo. Screenwriters: Eligio Montero, Salvador Simo, Fermin Solis. Based on the graphic novel of the same name by Fermin Solis. Language: Spanish, French. Cast: Jorge Uson, Fernando Ramos, Luis Enrique de Tomas, Cyril Corral, Pepa Gracia, Gabriel Latorre. Runtime, 80 minutes. Venue: Quad Cinema.

Mostly Indies rating:

If you’re in the mood for a different kind of movie, and find this obscure little gem playing in an arthouse theater near you, go see it before it disappears. esl academic essay ghostwriting site for masters health care paper enter buy a paper generic viagra amazon corporate social responsibility research paper topics deed of assignment tenancy get link survivors siegfried sassoon analysis essay go to site https://tasteofredding.org/15645-viagra-sold-in-usa/ see building and construction assignment help viagra vision loss viagra pregnancy source college custom papers plain research series simple research papers on beta 1 3 glucanase format for writing research papers get link follow site prednisone can i purchase it online how to write dodo in hiragana Where i can buyVGR in denmark sample thesis titles for computer science terminator salvation background wallpaper http://bookclubofwashington.org/books/buy-college-research-papers/14/ common thesis defense questions download doctoral dissertation writing help follow professional resume writer sites for university javascript conditional assignment Bunuel in the Labyrinth of the Turtles is a rarity in animation, a reimagination If you will of Luis Bunuel’s fall from intellectual and cinematic grace following the release of his 1930 movie L’Age D’Or, a film now regarded as a classic entry in Surrealist cinema and a direct companion to his breakout film Un Chien Andalou, and his return to critical acclaim following his Surrealist documentary Las Hurdes: Tierra sin pan (Land Without Bread).

After L’Age D’Or, which causes a massive scandal and destroys Bunuel’s friendship with Salvador Dali, Bunuel finds himself unable to secure a single project and faces financial ruin. Luck intervenes on Bunuel’s behalf when he finds himself making a documentary based on Maurice Legendre’s study of the people of Las Hurdes and using the funds from a winning lottery ticket that his friend, anarchist Ramon Acin, plays. Upon Bunuel and his crew’s arrival to Las Hurdes, the men cannot but be impressed with the sheer level of abject poverty the people live in, Houses packed against each other, roofs resembling the scales of a turtle (hence he film’s title), the village is a maze of ins and outs with no discernible order.

They learn about how the village survives (by getting a government check for every orphan given), and a moving scene involves Bunuel surrounding himself with the children of Las Hurdes, all wide eyed, innocent, begging for attention, As the men start filming establishing shots, Bunuel comes across a sick girl who due to the village’s own isolation has no chance to survive. Filming continues, Bunuel experiences nightmares in which he faces a forbidding father and a loving but remote mother, and somehow, Bunuel’s own need to shock soon reveals itself when he employs staging to construct a narrative of the people of Las Hurdes.

Scenes of the actual documentary make their way into he movie, often with disturbing effect on the animated narrative. An early sequence shows Bunuel directing the beheading of a rooster; another one, a donkey being overpowered by bees and stung to death, All have a direct relation to Bunuel’s obsession with death, and culminate in the now famous sequence of goats leaping off steep cliffs, a feat that has now been considered was achieved by Bunuel’s crew shooting at the goats to scare them to jump.

It’s a bit hard to like Bunuel in this movie because he as a person is so difficult — eager to antagonize in the name of controversy, callous at times to the suffering of the very people whom he is flatly exploiting. At least, the movie does not try to lionize Bunuel as a man who could do no wrong, so at least this keeps the picture shrouded in a cloak of authenticity. Often dreamlike, sometimes confounding, this is a well-told story of the forgotten people, but mostly about a director trying to find his own purpose and step out of Dali’s shadow, For those of us who know Bunuel’s body of work, it’s safe to say, he succeeded. If only the young Bunuel would have known this, but then, we wouldn’t have a movie, wouldn’t we?

FLOWERS (LOREAK)

 

FLOWERS
Spain
Director: Jon Garano and Jose Mari Goenaga
Runtime: 97 minutes
Language: Basque

Mostlyindies Grading:

4 out of 5 stars (4 / 5)

Criminally under-screened when it made its way to US Cinemas in the fall of 2015, Flowers for Ane as it is also known is a quiet mood piece that has parts of a simmering mystery whose arms have a greater arc — namely, that of the one that relates disparate characters to one another via the disguise of a bouquet of gorgeous flowers.

Ane (Nagore Aranburu), a woman in her forties it seems, has been diagnosed with menopause. It doesn’t help that she’s already trapped in a dead marriage, but one day she opens the door of her house to an eccentric gift: a bouquet of flowers, from a stranger. No return address, nothing to attach it to. The flowers become a regular appearance — one bouquet a week — and it’s a cause of embarrassment for her, and places more strain on her marriage. She has her suspicions of who may be sending them, and an accident a coworker suffers, in which a pendant of Ane is found in his car, seals her suspicions.

From then on she pays tribute to her dead coworker, not knowing his wife Lourdes (Itziar Ituno), a tollbooth employee, has seen her leave bouquets of flowers at his memorial. Lourdes has been in a love-hate (or, let’s put it frankly, a hate-hate relationship) with her now dead husband’s mother Tere (Itziar Aitzpuru). Think the comically strained relationship between Debra Barone and Marie Barone, remove the comedy, amp up the passive aggressiveness, and you get the picture. These two women can’t stand each other. How Loreak manages to balance this trio of women who eventually reach a sort of inner peace within themselves — of sorts — is a trick that both directors are keen to pull off; however, the story’s deep symbolism, of people connected by acts of random kindness and the ubiquitous flowers, might be a little too outre to bear, even at a lean 95 minutes. And the final piece of the mystery — that of the sender, and his motives — might reveal there’s more to the story than we’re being told. Even so, Loreak is a solid melodrama about human compassion.

Flowers is available on Netflix and Amazon Prime.