In a Gypsy village, the fathers of Candela and José promise their children to each other. Years later, the unfaithful José marries Candela but while defending his lover Lucía in a brawl, he... See full summary »
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 »
Francisco Goya (1746-1828), deaf and ill, lives the last years of his life in voluntary exile in Bordeaux, a Liberal protesting the oppressive rule of Ferdinand VII. He's living with his ... See full summary »
A group of flamenco dancers are rehearsing a very spanish version of the Prosper Merimee's drama. Antonio (the coreographer) falls in love with Carmen (the main dancer). Their story then ... See full summary »
Laura del Sol,
Paco de Lucía
Manu, who just turned ten, makes his first trip to Murcia to spend some time with his father's family. Surrounded by orchards, sea, nature and a cheerful and warm family, he will find his first love and the first signs of his adult life.
In a Gypsy village, the fathers of Candela and José promise their children to each other. Years later, the unfaithful José marries Candela but while defending his lover Lucía in a brawl, he is stabbed to death. Carmelo, who secretly loves Candela since he was a boy, is arrested while helping José and unfairly sent to prison. Four years later he is released and declares his love for Candela. However, the woman is cursed by a bewitched love and every night she goes to the place where José died to dance with his ghost. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
[Carmelo and Candela have come to Aunt Rosario so as to get her advice on how to deal with the ghost of José who keeps tormenting Candela]
I was expecting you two. There's only one thing to keep the dead from returning: FIRE!
[She points her finger forcefully at a blazing bonfire]
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Formalismo is an integral part of both Hispanic culture and gypsy/flamenco culture. It is inherent in this dance-drama within a movie. You must willingly suspend disbelief in the realistic sets set on an obvious dance stage with scrimmed and lighted backdrops. Likewise to accept the plot, you must suspend disbelief in phantom lovers, duels for honor, and happy-ever-after endings -- although be forwarned that the ending of this Bewitched Love (a better translation than the usual "Love, the Magician", altho' there are at least three other ways to interpret the ambiguous Spanish title words) can be understood only as a comedy, or comedie noire. The action, singing and dancing are compressed into the lines of flamenco dances as tightly as pure emotion can be condensed into a sonnet, or any other strict form, and yet they transcend with the freedom of the gypsy spirit, if you but open yourself to the experience. The first of Saura's great dance movies.
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