In Madrid, the orphan sisters Irene, Ana and Maite are raised by their austere aunt Paulina together with their mute and crippled grandmother after the death of their mother and their ... See full summary »
The artist, Antonio Lopez, tries to paint the quince tree he planted some time back in his garden. Throughout his life, he has worked on the same theme many times, almost as if it were a ... See full summary »
How do we understand faith and prayer, and what of miracles? August 1925 on a Danish farm. Patriarch Borgen has three sons: Mikkel, a good-hearted agnostic whose wife Inger is pregnant, ... See full summary »
Carl Theodor Dreyer
Emil Hass Christensen,
Preben Lerdorff Rye
The movie tells a melancholic story of a little girl who is living in a city in the north. She is fascinated by the secrets of the south which seem to be hidden in the personality of her ... See full summary »
In Castilla around 1940, a traveling movie theatre brings James Whale's black and white film classic "Frankenstein" (1931) to a small village. Two young girls, Isabel and Ana, are subsequently determined to find the monster themselves. Written by
Michael Crew <firstname.lastname@example.org>
According to Víctor Erice, Ana Torrent, who was six years old at the time of the shooting, believed the Frankenstein monster existed in reality. The first time she saw the actor playing the monster in full makeup, she was completely terrified and later she asked him why he had killed the little girl (in the Frankenstein (1931) movie). The actor didn't know what to answer. See more »
When the fugitive jumps from the train and rolls down the hill, he's wearing boots, but in the next shot he's wearing low-cut shoes. See more »
What I am most affected each time I see Erice's this movie is his ability to convey the world of a child to us sometimes even without depending on the dialogues. Instead, he prefers creating a beautiful atmosphere and feelings by using the faces, looks, the light and the silence.
We can give an alternative name to this movie as "the spirit of the house", for the director tries to show what is going on in this house whose windows resemble to honeycombs. Erice deliberately chooses not to give any shots with all members of the family, as there is serious feeling of alienation between father and mother, and total lack of communication and affection between them, and from them towards their children. Under that situation the only person whom Ana could touch with her words, plays and questions is her sister Isabel. Their house looks like a beehive with the queen bee, male worker bee, and child bees performing their duties only by being in the same house without touching to each other.
When Ana's best friend and her sister played on her trust and fears by deceiving her, she totally turned inward and found the image and the dream of Frankenstein ready for her friendship and to give her feeling of closeness. After she met the wounded Republican soldier, her Frankenstein's image came into being in his existence, who is considered as dangerous and outside the society by adults just like in the original Frankenstein movie. Like the girl in the latter, Ana does not see the fugitive as how adults define Frankenstein, as something to be run away from. Instead, she considers him as Frankenstein who could be her friend. I see the shadow of the "monster" on this movie used beautifully and magically by the director.
During the 97 minutes of the movie, Erice and his cinematographer Luis Cuadrado both reflect the heart of a child to us with their magical scenes, and skillfully convey the grey feeling of the civil war in the background without straightforwardly pointing their fingers to it.
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