All the films from all the editions, including those subsequently removed, presently totalling 1154. An easy way of seeing how…
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 military father Anselmo. Ana is a melancholic girl, fascinated by death, after seeing her mother having a painful death and her father dead in bed.
A brutally depressing companion to The Spirit of the Beehive, Cria cuervos also follows a young girl confronted with death and how she responds to it. Here, director Carlos Saura opts for a modern, urban setting - less fantastical than Erice's masterwork, but much more confrontational in its issues. Saura gets dangerously close to feeling exploitative in the situations he puts little Ana in; literally, as the girl finds herself in the middle of remembered and imagined versions of her parents squabbling together, dying, and comforting her in ways they'll never be again in the world of the living. Imagine a film where Bambi keeps hearing that fated gunshot every five minutes, and what that would do to its outlook…
Carlos Saura’s Cria Cuervos is an enigmatic and sombre drama about a child and country in transition. Made whilst General Franco lay on his deathbed it is a film haunted by Spain’s recent past and the legacy of fascism as the real world politics echo throughout the story. It is essentially a coming-of-age story about Ana, a melancholic eight-year old mourning the death of her parents. Her aunt and ill grandmother move into the family home but Ana seems incapable of letting go of the past.
Saura explores his country’s recent history through the eyes of a child. Cria Cuervos - translated as Raise Ravens and based on the Spanish proverb, raise ravens and they’ll pluck out your eyes -…
I'm going to write everything that comes to my mind about this one. I know that I shouldn't be doing this but for those who are lazy to read many paragraphs of text, here's couple of shorter sentences:
1) Must-see! What are you waiting for? You need Saura to your life!
2) Ana Torrent is one of the greatest child actresses ever, actually the Greatest - her screen presence is something from another world!
3) Masterpiece in its true meaning
4) One of the greatest big screen experiences ever!
5) Spanish Cinema, where have you been my whole life?
Then some serious writing:
At first I’d like to mention that I’ve seen some reviews as views of this as a…
A dense, oppressive atmosphere characterizes this amazing film. After 'The Spirit of the Beehive', Ana Torrent (arguably the greatest child actor there has ever been) lends her presence to this portrait of childhood, at once naturalist and gothic, inside an upper-class setting that pretty much corresponds to the institutionalized corruption of Franco's right-wing rule in Spain. Sad, illuminating film, with a little protagonist of enormous stature and one of the best uses of a pop song to evoke a mood (Jeannette's and José Luis Perales' "Porque te vas").
Cria Cuervos is the kind of film I instinctively respond to. It's an evocative exploration of the dark side of childhood through the eyes of a young girl who has seen too much death, Ana.
The camera pans over from Ana as a young girl to her older self (Geraldine Chaplin in one of her two roles). She explains the uncertainty of childhood and how perhaps it's not such an objectively great portion of life. This is one of the many moments where the somberness of the film is so fluidly transitioned into. Director Carlos Saura introduces deceased characters into a scene with an elegant lack of emphasis. And what this does for the viewer is to face the vast…
El Espíritu de la Colmena (1973) has a lost cousin under Carlos Saura's wing called Cría Cuervos, and just like a child loses naive innocence and a fantasy perspective of the world as it grows up, Death is more menacing in an omniscient role that lurks around the darkest corners of the mind. Cries and Whispers (1972) meets Víctor Erice, you could say. Terrific depiction of the fascination with death and about metaphysical questionings. Ana Torrent will always be my Spanish little princess of acting.
Porque te vas όλη την επόμενη μέρα
Really interesting to think about and ponder over, but I had two main objections. 1) For all the film makes about Ana's childhood being so hard... it really isn't. There's a moment where her aunt chides her for not using cutlery correctly but I would have done completely the same in her position. Indeed, Monica Randall, who plays Aunt Paulina, gives by far the best performance and lends possibly too much nuance to a character the film wants to portray as a Lady Tremaine-type. If the film were told from her perspective rather than Ana's, it would have been fascinating. 2) I did not like Ana Torrent's performance at all. Rather than insular and morose, she just read like a…
En 1976 (y solo en ocasiones) Ana Torrent ya veía muertos.
Did del Toro steal
From this for Pan? I think so.
That's not a bad thing.
Very dated. Very one note. Very boring. Two stars for the girl who plays Ana and the theme song.
This is one of the most beautiful films about children I've ever seen.
I'd never seen a Carlos Saura film before. The only things I'd known about him were that a) he made movies about dance, which sounded super-stupid and maybe even unethical, and b) he had a relationship with Geraldine Chaplin, which intrigued me. Nevertheless, Part B never seemed to get around to overruling Part A; maybe it's because he's Spanish, and we all know that the Spanish are not a cinematic peoples.
This movie understands the tempo of childhood. It's slow, but not like the slowness of the contemporary art film -- no, its slowness is suffused with mystery.
The lead actress -- Ana Torrent, also the star…
Ana Torrent continues to astound me with her acting and bring me to tears in her subtleties.
Cría cuervos (1976)
An exploration of childhood through the saddest parts of them, and even if our protagonist retroactively says how it wasn't just bad moments, it still seems that the good moments are filled with death and sex that a kid shouldn't experience at that age. There's a feeling of knowledge, how the mind of a kid works, and I can still remember when I located myself in memories, I overheard conversations, how things that seemed to be unknown to me were known. It reminded me a lot about the fantasies that I used to have when I couldn't sleep, just like in this movie, looking out of the door, seeing people that shouldn't be there crossing the hallway, talking, looking at me, experiencing some kind of sensory depravation that is impossible to conciously experience again as adults.
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- Grand Illusion
- Seven Samurai
- The Lady Vanishes
- The 400 Blows
The entire Criterion collection organized by spine number.
I don't know why I did this.
Number I've Seen: 160/739
- Ferris Bueller's Day Off
- Teen Wolf
- The Breakfast Club
- American Pie
[after his parents have left, thinking he is ill] "They bought it. Incredible! One of the worst performances of my…