Monday Evenings
Arrive: 6:35PM
Movie: 7:00PM
Search
-
Recent Films
- Aloha Cinematikeros !!! …how are you doing ?…my hope for all of us is that in this imposed state of siege called quarentine we are learning on how to sharpen our best human and survival qualities !!!…this too shall pass and we’ll see each other on the other side of paradise !!! with love and Aloha…JJ….
- HEADS UP ! …FOR MONDAY MARCH 16, 2020…
- ***MONDAY March 16th, 2020 *** Loro*** DIRECTED BY: Paolo Sorrentino*** INTERPRETED BY: Toni Servillo, Elena Sofia Ricci and Riccardo Scamarcio
- ***MONDAY March 9th, 2020 *** The Best of Youth*** DIRECTED BY: Marco Tullio Giordana*** INTERPRETED BY: Luigi Lo Cascio, Alessio Boni and Jasmine Trinca
- ***MONDAY March 2nd, 2020 *** The Best of Youth*** DIRECTED BY: Marco Tullio Giordana*** INTERPRETED BY: Luigi Lo Cascio, Alessio Boni and Jasmine Trinca
MONDAY, MAY 12, 2014 *** BLOOD WEDDING *** directed by CARLOS SAURA with ANTONIO GADES, CRISTINA HOYOS, MARISOL,
This entry was posted in DANCE, FLAMENCO, MUSICAL, trilogy and tagged ANTONIO GADES, CARLOS SAURA, CRISTINA HOYOS, DRAMA, FEDERICO GARCIA LORCA, FLAMENCO, MARISOL, MUSICAL. Bookmark the permalink.
what a perfect way to end this flamenco film trilogy by Carlos Saura by inverting their order and actually seeing the first film he made , last and thus being shown the masterly discipline and spontaneous passion of all the artists involved, from the director to the dancers and from the prop man to the camera crew and from the guitarists to the “cantaores”…
as he did in the previous three films we’ve seen of him (Tango, El Amor Brujo and Carmen) Carlos Saura introduced us to the performers by showing them and the set(s) before they become characters and settings for the story…
so instead of tricking us into believing the “reality of the story” he exposed us to the naked, unmade-up face of their humanity and then capture our attention with their pure artistry…
memorable moments: the winged flutterings of the lovers ending with their laying embrace on the floor, the static camera eye showing empty spaces being occupied by the dancing characters, the roving, circular camera eye that catches the paso-doble dancers @ the wedding changing the rhythm and movements of classical flamenco and the final duel in veeeeeeery sloooooow motion and the many reminders of the original figures, moves, dress and attitude of what became “argentine tango”…
what do you think ??