A look at the life and work of Spanish filmmaker Mario Camus (1935-2021).
A look at the life and work of Spanish filmmaker Mario Camus (1935-2021).
2022-03-19
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Filmmaker Helena de Llanos, who lives in the chaotic house, full of memories and treasures, where her grandfather, Fernando Fernán Gómez (1921-2007), legendary writer, actor and director; and his wife, the actress and writer Emma Cohen (1946-2016), shared their lives, analyzes the relationship that the living have with the dead through the places and objects they have left behind.
A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.
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In the sixties, Peter Handke was one of the first to show how the business works: the writer as angry young man and pop star of the literary scene. As soon as he was on the bestseller lists, he turned his back on the hype. For many years, he has lived and worked in his house in a Parisian suburb, more quietly and more hospitably. Peter Handke's precise, free gaze becomes perceptible in his texts, his conversations, the cosmos of his notebooks.
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In the late sixties, Spanish cinema began to produce a huge amount of horror genre films: international markets were opened, the production was continuous, a small star-system was created, as well as a solid group of specialized directors. Although foreign trends were imitated, Spanish horror offered a particular approach to sex, blood and violence. It was an extremely unusual artistic movement in Franco's Spain.
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