1957 film by Carlos Saura

José María "El Tempranillo" fleeing from justice, takes refuge in Sierra Morena. After a period of hard learning, he becomes the leader of a group of bandits.

A collection of European T.V. commercials directed by a variety of well-known directors from across Europe and the U.S. Compiled and produced by Jean-Marie Boursicot.

1988 film by Carlos Saura

1992 film by Carlos Saura

Filming "Goya. May 3" is an innovative audiovisual project that makes a cinematographic recreation of Goya's painting "The Executions of May 3" through an 8K digital recording with real digital scenography under the direction of Carlos Saura, also from Aragón. This, with a multidisciplinary team, develop a dramatization as realistic as possible, making use of the latest filming technologies and with a careful artistic direction that pays special attention to styling, costumes, sound setting, etc., in a complex process whose novelty lies in the production, and with which it is sought to achieve an immersive experience of great impact for the visitor.

During the Spanish Civil War, a group of comics lightens the days of the Republican troops. Tired of life in the front lines, they make their way to Valencia, accidentally entering enemy land and falling prisoner.

Acclaimed director Carlos Saura portrays the evolution and relationship of art with the wall as a creative canvas, travelling from the first graphic revolutions of the prehistoric caves to the most avant-garde urban expressions. A thrilling and personal journey in the company of figures including Miquel Barceló (the first contemporary artist still alive to expose his work at the Louvre) or Suso 33 (a reference within the Graffiti and Muralism worlds) among many. 源自：

After "Sevillanas", "Flamenco" or "Fados, Carlos Saura gets once again behind the cameras to shoot a musical documentary about la Jota, the traditional dance and folk music from his homeland: Aragon During the shooting of "LA JOTA", Carlos Saura puts forward a new journey starting from the most basic and rooted to his land's folk singing and traditional dance, to those who anticipate the future of this powerful music; in a visual journey where the scenery and the light will be the support of the story, intending to leave a vital, historical and unique document to future generations, that serves as a memory and reference for everyone who loves music.

电影开始时像一个典型的两代间的冲突故事，少女蓓姿就像其他青春期的青少年一样，和父母有沟通上的困难；但当她与丹尼坠入爱河后，这个每个人都会经过的阶段却演变成悲剧。本影片是个隐喻，它透过蓓姿的眼睛来看世界，他眼中所见的事物并不美好，就连她的爱情也是乌云密布。

The architect, a contemporary master, Renzo Piano. The filmmaker, another contemporary master, Carlos Saura.

Manuel, a famous stage director, is preparing his next show, a musical about making a musical show. He seeks the help of Sara, a renowned choreographer and ex-wife, to help him cast and direct. During the casting process, the young dancer Ines will appear as the new rising star. She will bring into the story her father, a dubious character who has dangerous dealings with the local mob. As the preparation of the show evolves, the desire to win will push the dancers to excel their performances, which will bring out passion and tension between them. Where powerful Mexican music sets the tone (Lila Downs, Carlos Rivera, Fela Dominguez), a play will emerge in which tragedy, fiction and reality intertwine.

Argentina continues Saura’s lyrical exploration of the essence, talent and patrimony of popular dance and song in both fiction and documentary

To see El Sur is like slipping as a guest into one of Jorge Luis Borges' tales. If you like this argentinian writer you'll like this movie, because El Sur is Borges quoting Borges, his melancolic solitude, his metaphysics dressed as poetry and, most of all, his eternal questions about reality and illusion. What is the result? an instant out of life which dilutes into dreamdom, whilst present mixes itself up with past. The lead character here is Juan Dahlmann, an obscure argentinian librarian from european heritage -much like the same writer in the 40's- who has consecrated to keep, in spite of economic difficulties, an old property at the south of Buenos Aires province. His life passes by way of his work and his reading, he recites from memory `Martín Fierro' (the most famous work of the writer -also argentinian- José Hernández) and is dazzled by a rare edition of the Arabian Nights, both books did fascinate Borges, both books about voyages.And so Dahlmann travels, after an accident, to the `estancia' of his elders, in an initiatic tour which will bring him to face his identity and face the Pampa, where his past and his fate awaits him, to face Buenos Aires suburbs, a South that is filled with barbaric, fearsome and rough knifes who duel the cultish highbrowish North of the erudits, the capital of libraries and china cups. ¿Why else did I liked this movie? Because is true art house cinema, the speed of the narrative is at the same time slow and undefatigable as life itself, following strange turns instead of a straight line. Finally, I do have a very personal reason to my enjoyment during the 60 minutes I spent in front of the TV. It really got me, from the very beginning, the voice over with his cadentious and raw spanish with argentinian accent, loaded with melancoly, seamlessly caressing every word, embracing its millions of meanings, until you feel like, for an instant, everything makes perfect sense.

班德拉斯饰演的记者马科斯，爱上了马戏团表演马术和枪法的演员安娜。谈话，看照片，打枪，喝酒，接吻，然后就相爱了。实在是平淡，简单，安恬自然，是清风明月，是小桥溪水。如此走下去，即便是分分合合，爱欲交困，甚至情人末路，观者无不可坦然接受。然而关于二人爱情的片段至此戛然而止，偏要让班德拉斯退场，由安娜演起独角戏。然后出现几个不相干的人，上演了一幕惊心动魄的雨夜摧花。等闲平地，一场突发风暴就这样明目张胆的安插进来，使得观者目瞪口呆措手不及。 于是，两个人的爱情，变成了一个人的复仇。处理得狂妄的恣意......

Three men who fought with the Fascists in the Spanish Civil War and have since prospered reunite to go rabbit hunting on the hot, arid land owned by Jos?(Ismael Merlo). Jos? Paco (Alfredo Mayo), and Luis (Jos?Maria Prada) are joined by the much younger Enrique (Emilio Guitierrez Caba), who was born after the Civil War. To impress the others, Jos?buys an expensive radio and camera but refuses to purchase medicine for the sick mother of Juan (Fernando Sanchez Polack), a crippled peasant who lives on his land. In addition, the men shamelessly lust after Juan's impoverished young niece. As the heat of the day builds, tensions between the men boil to the surface, reaching a violent climax when Juan asks Paco for a significant loan. Saura uses the veterans of the war, and their personalities, their petty jealousies, bravado, and senseless machismo as an allegory for what Spain had, unfortunately, become after a generation of Francoist rule. The character of Enrique represents the contemporary Spanish generation that was not taught about the Civil War in school.

Pantheon filmmaker Carlos Saura bounced back from a handful of failures with 1989's La Noche Oscura (The Dark Night). Juan Diego stars as San Juan de la Cruz (St. John of the Cross), the legendary 16th-century poet-prophet. Galvanized into action by the spirit of Santa Teresa de Jesus, San Juan fought to install reforms in the Carmelite Order. Like many another visionary, he was regarded as a heretic, and promptly subjected to the most appalling of tortures. Writer-director Saura manages to draw several parallels between the religious persecution of the 1700s and the political despotism of Fascist Spain.