Carmen (1983)

 

A group of flamenco dancers are rehearsing a very Spanish version of Bizet's dramatization of Prosper Merimee's novella Carmen. The choreographer Antonio falls in love with Carmen, the main dancer. Their story then turns similar to the play.

From memory: Dynamic and exciting variation on Prosper Mérimée's novel delivers some truly breathtaking choreography and a quite melodramatic subplot, introducing the mesmerizing Laura del Sol.

Halliwell**: "Enjoyable but exhausting melodrama with elements of The Red Shoes; meticulous choreography and direction are its chief assets."

Maltin***: "Choreographer/ star Gades and sensual Del Sol are superb, though dramatic impact dissipates somewhat during second half. A must for dance buffs."

Cría Cuervos (1976)

 

In the twilight of Francisco Franco's dictatorship, an eight-year-old orphan and her two sisters find shelter in the house of their stern aunt, trying their best to acclimatise to a new reality.

Carlos Saura's film is told through the perspective of a young child (and her older self) and interweaves past, present and future​, but also includes imagined and surreal scenes, albeit staged so masterfully that it all remains stringent and comprehensible and the political implications are apparent; again, Geraldine Chaplin convinces in a double role (as the mother and as the adult child).

Halliwell*: "Elliptical story of childhood and of women trapped in a world dominated by men; it is ever less than watchable, but its meaning, possibly obliquely political, remains obscure." 

Ana y los lobos (1973)

 

A British governess comes to an isolated house to take care of the children of a convoluted family.

Another allegorical and surrealist tale typical of its director serves as a biting criticism of Franco-ruled Spain, at times irritating and disturbing and in the end devastating.

 

 

Peppermint Frappé (1967)

 

Julian, a physician, gets increasingly infatuated with Pablo's wife, Elena. Upon seeing her, he realises the striking resemblance she bears to his assistant, Ana. Subtly, he transforms Ana into Elena.

Intense psychological drama tells a slightly surreal, but also fascinating and creepy tale with a hint of both Bunuel and Hitchcock influence to it; Geraldine Chaplin is mesmerizing in a triple role.

La caza (1966)

 

Three men go hunting rabbits during a hot day. Heat and talking about events happened in the past make them angry, until they go totally crazy. 

Intense psychological drama, obviously intended as a political allegory, relentlessly exposes its protagonists' toxic masculinity, suitably staged in stark black-and-white and a overheated barren landscape, entrenched in a whirlpool of absurd moments and violence (the hunting scenes are quite hard to take).

 

 

Carlos Saura & Luis Buñuel