All the films from all the editions, including those subsequently removed, presently totalling 1177. 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 -…
Cria Cuervos takes place in the long-term aftermath of the death of the mother and in the immediate aftermath of the death of the patriarch of a family of three daughters living in a tree-shadowed home in Madrid, haunted by the past and facing an uncertain future with their aunt, grandmother, and long-time maid. The film was shot in 1975 while Franco was dying, and is an allegory for the melancholy and closed-off world that was Fascist Spain coming to an end, but into what? This movie is full of ghosts summoned and unsummoned, the ones which dwell within memory and live alongside the present, sometimes overtaking or subsuming it. Cria Cuervos is a beautiful movie about the sadness and longing for deliverance which occurs as a necessary aspect of childhood, a life lived at the mercy of forces beyond personal control, forces which are short-sighted and irrational, given over to their own desires, temperaments and conditioning.
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…
Have you noticed that Geraldine Chaplin has her father's smile? That's not necessarily a compliment, by the way. It's the kind of smile where it looks like her teeth are trying to escape from her face.
I've always been struck by Ms. Chapin—in the qualitatively neutral sense of being stricken. She's a good actress, for sure—and she can act in English, French, and Spanish—which is quite a feat when you consider that many popular actors today can't even act in one language. But there's something about her... isn't there? Her gaunt face seems to bring a certain severity to her performances. Even her turn as the indomitable BBC reporter in Altman's Nashville suggests the madness (just) beneath the surface.
A subtle yet unmistakable indictment of the family as a repressive force in Spanish society, Cría cuervos centres on an eight-year-old orphan (the spellbinding Ana Torrent, The Spirit of the Beehive) who believes herself to have poisoned her cold, authoritarian father (Héctor Alterio), a high-ranking military man whom she blames for the death of her adored mother (Geraldine Chaplin).
Taking its title from a sinister spanish proverb which translates as: ‘Raise ravens and they’ll pluck out your eyes’ (a phrase relating to those with bad luck in raising children), Carlos Saura’s suitably dark, and highly unsettling allegorical, 1976 drama proves a deeply moving, atmospheric and beautifully realised affair, delivering a haunting, yet effectively illuminating study of loss, guilt, adoration and…
All beauty and darkness and humanity revealed in a children's face. Impossible to be left untouched by this little-known masterpiece.
IM STILL mad this was on english and I was really hoping geraldine spoke spanish but no........anyways i lov it
That dance/dress up scene is a wonderful piece of movie magic. That actually goes for the whole movie. Amazing and beautiful film.
Also one of the few scenes where the careless existence of Ana comes across. Although the number that is played in the background is very melancholic, the sisters do have fun. Gone are all the worries for a little while. But quickly grandma rings the bell for help and Ana returns to her worries and her obsession with the past and death.
Together with de eyes closes/eyes open scene one of the most beautiful scenes in the movie. Accompanied by one of those songs that you never ever get out of your head and will forever associate with…
Childhood sucks, evil stepmothers aren't evil, fascists are the worst, and time and life and death are all a little fuzzy in dreams.
Ein wunderbar süßer Film über den Umgang eines Kindes mit dem Tod. Die traurige Grundstimmung wird immer wieder von heiteren Momenten (getrieben durch den tollen Soundtrack) und witzigen Szenen voller niedlicher kindlicher Naivität durchbrochen.
Besonders hervorzuheben sind das Schauspiel der jungen Protagonisten sowie der Filmschnitt mit perfekten Übergängen zwischen Illusion & Realität und Vergangenheit & Gegenwart.
To be reviewed on Episode #33 of The Immortals...
Una pellicola che viene spesso letta come un'uscita dall'incubo franchista, aprendo ad un nuovo futuro (come dimostra egregiamente il finale).
Ma è soprattutto una disamina luttuosa di un'infanzia angosciante e drammatica.
Il regista confonde i piani temporali, spiazzando spesso lo spettatore, costretto a tenere sempre desta l'attenzione.
Indimenticabile l'ultima parte. Il veleno. L'infanzia libresca in bilico tra cattiveria e bontà.
I was so ready to love this at the beginning, but as it gradually did away with its surreal side, the less interested I became. I was never not enjoying it and the elements of it that are good are very good (the camera drifting through space as it drifts through time, Ana Torrent's weirdly stoic performance, "Porque te vas"), but I find it almost depressing considering how close this is to greatness.
"Porque te vas" is such a jam though.
High-rated movies with very few views. Suggestions are welcome.