The story is very basic; it deals with the adventures of young street-criminals in Madrid who graduate from car-theft to bank-robbery. What's interesting is the way Saura makes us care about these "hijos de nadie", who are kind and decent people 50% of the time, and feel they have no future in regular society. But the movie never sentimentalizes them - they do exactly what you'd expect such people to do.

1982 film by Carlos Saura

Ana is alive and married with Antonio; they arrive in the manor in the countryside of Spain where she worked as a nanny many years ago, for the centennial birthday of the matriarch. In their reunion, she finds that Jose died three years ago; Juan left his wife Luchy; Fernando is still living with his mother and unsuccessfully trying to fly a hang glider; and the three little girls are grown-up. Further, she discovers that the dysfunctional family is completely broken, and Luchy in embezzling mother's money. When Juan arrives for the celebration, he plots with Fernando and Luchy to kill the mother to get the inheritance. Meanwhile, Antonio has a brief affair with Natalia.

一位匿名女子在国际战争罪法庭上讲述她所遭受的酷刑的证词，给戏剧导演路易斯留下了深刻印象，后者决定上演一部改编自该证词的戏剧。 很奇怪这部影片在绍拉的所有电影中是被提及最少的一部，其实绍拉与杰拉丁-卓别林在60-70年代合作的每一部影片都很好，但许多人了解的似乎还停留在《饲养乌鸦》《安娜与狼》《艾丽莎我的爱》等几部上面。。。为什么同样甚至更为出色的《被蒙上的双眼》从未被出版过？ 嘎纳影展金棕榈提名。西班牙剧作家协会最佳剧本奖。 The film is filled with unforgettable imagery and haunting moments. Except for two overlong and overdone sequences (ironically, one of which is a dance scene given that Saura's reputation today rests mostly on his dance films), LOS OJOS VENDADOS is one of Saura's strongest films. The final 5 minutes are unforgettable.

On the heels of his award-winning Cria cuevos (Raise Ravens), Spanish filmmaker Carlos Saura dashed off the muted psychological drama Elisa, My Love. Geraldine Chaplin stars as Elisa, who after an absence of 20 years is reunited with her father, Fernando Rey (in a superb performance, which won him the Cannes Film Festival "Best Actor" prize ). Having just divested herself of an unhappy marriage, Elisa hopes to heal old, long-standing family wounds. Inasmuch as Saura thrives on exploring "unspeakable" subjects in his films, one can gather that the relationship between Elisa and her father may be far more complex than it seems at first. Elisa, Vida Mia was released in English-speaking countries as Elisa, My Love.

安东尼奥（何塞·瓦奎斯饰演）掌管着一个家族企业，一场车祸之后不幸地身体瘫痪，并失掉了大部分记忆。安东尼奥的家人通过各种方式，试图帮助他恢复对于保险箱密码、公司管理、家人以及自己的记忆和认知。安东尼奥在碎片般的童年记忆中再次修复了对于自己过往生活的经验，但他已然无力面对追名逐利的亲人和令人窒息的现实生活。

IMDB简介 Ángel is an aging professor, a lonely widower without purpose. His lovely, spirited neighbor, Terese, interrupts his suicide attempt when she comes to borrow wine. She invites him for dinner and he meets her lover, Alberto, and their young child. Terese captivates him, he develops a school-boy's crush, and when Alberto invites him to write something for their theatre troupe, called the Stilts, he jumps at the chance. When he's not writing, he spends every waking hour with the Stilts. They take him in. It's not enough for Ángel: he begs Terese to spend time alone with him, and they do become lovers. He's obsessed. It cannot last: what will he do when she breaks it off? Written by <jhailey@hotmail.com>

影片讲述了歌剧《唐璜》（Don Giovanni）创作过程中发生的故事，中心人物并不是天才莫扎特，而是通常被忽视的词作家达彭特。达彭特的的人生就如歌剧中人物一样丰富多彩。犹太血统的他被迫改信基督教并接受牧师的训练，然而放荡不羁的他同情妇生了一个孩子。置谴责于不顾的达彭特又开了一家妓院，并因此被逐出威尼斯。来到维也纳之后，达彭特很快见到了国王，身为歌剧爱好者的国王将他与莫扎特撮合到一起，成为合作伙伴。达彭特因被同时代的卡萨诺瓦打动而劝说莫扎特创作一部新歌剧，而这就是《唐璜》。 影片是西班牙大师级导演卡洛斯·绍拉78岁高龄时推出的最新作品，以18世界意大利浮华的歌剧声色场为背景，从一个相当独特的侧面反映了艺术创作的过程。影片的主人公是意大利18世纪抒情诗人、歌剧词作者达彭特（Lorenzo da Ponte），他曾与莫扎特合作过歌剧《魔笛》、《费加罗的婚礼》以及《唐璜》。

This film is not just one of the great results of Saura and Geraldine Chaplin creative and marital union, but one of the rare movies where the environment, the house here, takes the main role. The huge, abstract, pre-minimalist concrete house (by Spanish architect Carvajal) transforms itself during the whole film running, setting the path to the main characters paranoia. The images that Saura produces are enigmatic, surrealist, funny, and in a strange way therapeutic, and they are deeply rooted in Spanish cubism and surrealism. It is probably one of the most contemporary and interesting film by the director, not recognized, yes, but a great unexpected value anyway.

When the single middle-aged Luis travels from Barcelona to bury the remains of his mother in the vault of his family in Segovia, he is lodged by his aunt Pilar in her old house where he spent his summer of 1936 with her. He meets his cousin Angelica, who was his first love, living on the first floor with her husband and daughter, and he recalls his childhood in times of the Spanish Civil War entwined with the present.

A group of friends who are struggling to survive in the slums of Madrid commit petty crime in order to finance the debut as a bullfighter of one of them.

Isabel Jimenez is a teenager witnessing a horrible feud between her own family and the Fuentes family, a feud involving broken hearts, property disputes and a mysterious fire that destroyed the Fuentes house. Isabel's uncle is murdered by Jeronimo Fuentes, who later tries to stab her father. After Jeronimo dies in jail, Isabel must look outside of her family for the truth, learning from the village idiot that her father may have set fire to the Fuentes home.

It´s a movie about a child memories, when the young protagonist spend some time in a summer holiday between some relatives at Murcia (sudwest of Spain), while his fathers were in divorce way. It's a biographical picture, bittersweet, with a good plasticity and somes interesting characters portrait. Win an award at Montreal Festival of Cinema.

​Set over the course of a single day, three people embark on a car trip from Madrid to Almería. Antonio is a successful industrialist who is dismayed that his personal life does not reflect his glittering career. He is increasingly insecure about his faltering marriage to Teresa, whom he suspects is having an affair with his best friend, also named Antonio.

The old Spanish filmmaker Luis Buñuel (1900-83) imagines a movie plot, set in Toledo in the future 2002, about the fantastic adventure of three actors, who play him and his friends, the painter Salvador Dalí (1904-89) and the poet Federico García Lorca (1898-1936), and their search for King Solomon's table, a mythical artifact capable of revealing the past, present and future.

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 much younger wife Leocadia and their daughter Rosario. He continues to paint at night, and in flashbacks stirred by conversations with his daughter, by awful headaches, and by the befuddlement of age, he relives key times in his life.

根据西班牙作曲家法里亚的同名作品改编，也被翻译为《魔法师之恋》。场景转移至某现代贫民窟，Candela的丈夫Jose在一场群殴中死亡，Candela伤心欲绝，每晚到丈夫命绝之地，与丈夫亡灵共舞。暗恋Candela的Carmelo借用魔法师的魔力驱赶亡灵，最终与Carmelo携手而归，Jose的亡灵则带着生前情妇Lucía遁去。

1983 film by Carlos Saura

介紹： 卡洛斯索拉（Carlos Saura）是西班牙史上備受矚目的電影導演。他以佛朗明哥舞為主軸，巧妙的融合西班牙的繪畫、舞蹈、音樂，舞台設計等各類藝術，透過獨特的攝影機運動，在極簡中創造華麗的視覺奇蹟。在坎城獲得最佳藝術貢獻獎和最高技術大獎的「卡門」，與「血婚」、「魔愛」，合稱為「佛朗明哥三部曲」，更成為索拉最具代表性的作品。近半世紀以來，索拉豐富的作品已成為檢視西班牙政治、歷史與社會變化的重要註腳。 阿拉岡省烏艾斯卡（Hueska） 1932年出生在阿拉岡省的烏艾斯卡（Hueska），索拉19歲就在皇家攝影協會舉辦首次個人特展，並在畫家哥哥安東尼奧的建議下，進入電影研究與實驗中心（I.I.E.C.，西班牙國立電影學院的前身）就讀。索拉早期的作品，傾向於寫實且充滿新浪潮的精神，1966年的《狩獵》（La Caza）為其代表作，七○年代《安琪莉卡表妹》（La Prima Angelica）和《飼養烏鴉》（Cria!,1976）深受歐美影評人的喜愛，並相繼在坎城中獲獎。 八○年代，索拉以「佛朗明哥三部曲」首開以電影來呈現舞蹈的先例，為國際影壇帶來了一種全新的電影形式與風貌。索拉獨特的運鏡手法不僅發揚了佛朗明哥舞熾烈的熱情和修長的線條美，更不難發現索拉擅長從極簡中創造炫目的電影視覺語言。其中，《卡門》更在坎城得到藝術貢獻獎和高等技術大獎，並入圍了奧斯卡最佳外語片。 九○年代，索拉與知名的攝影家和藝術總監合作多部作品，並以《情慾飛舞》在坎城得到技術大獎，並再次入圍奧斯卡。二十餘年來，索拉多部電影作品涵括劇情片與佛朗明哥音樂舞蹈片，數次奪得國際影展的肯定早已在國際間奠定獨樹一格的地位，而他對西班牙歌舞片的拓展貢獻，更謂居功厥偉。 弗拉门戈是西班牙的一种综合性艺术，它融舞蹈、歌唱、器乐于一体，过去流行在西班牙南部，现在已扩展到西班牙的广大地区，并正在成为整个西班牙的代表性艺术之一。 西班牙南部的安达卢西亚长期以来是各种音乐文化的大溶炉，早年希腊、迦太基、罗马、拜占廷的居民带来了地中海边远地区的音乐，后来西哥特人，又带来了他们的文化。从公元八世纪起，阿拉伯人在此建立了西哈里发帝国，统治延续了700多年。从15世纪中起，吉卜赛人又大量移居此地。因此，在安达卢西亚既有阿拉伯文化的巨大影响，又有吉卜赛歌舞艺术的强大魅力，使这个地区变成了欧洲最具有异国风味，东方色彩的地方。正是在这样的背景下产生了弗拉门戈艺术。 关于弗拉门戈的来源说法很多，有人认为它是吉卜赛人从北印度带来的，有人则认为它来自阿拉伯，但它与吉卜赛人有密切关系则是可以肯定的。 在弗拉门戈的演出中，我们常常看见歌手紧皱眉头，面部表情忧郁、愤懑、歌声嘶哑，这是其他演出中很少见到的，人们感到奇怪，但如果了解了弗拉门戈产生的背景，也就不难理解了。弗拉门戈艺术反映了吉卜赛人贫穷、悲惨的命运和处境，并通过诗歌、音乐和舞蹈来表现它。15世纪西班牙统一后，君主及天主教会强迫犹太人、阿拉伯人改宗，强迫吉卜赛人改变生活方式，他们为了逃避迫害，被迫离家出走，流离失所，逃往偏僻的山区，他们过着同样的苦难生活，是吉卜赛人用他们的歌喉、舞步、乐器诉说了这一切。 到18世纪中叶，弗拉门戈已经在安达卢西亚风行一时，但上流社会仍然拒绝它，后来有一位为当时流行的独幕剧《托纳蒂亚》作曲的音乐家采用了吉卜赛的诗句和旋律，情况才有了改变。这个时期出现了不少专业的演唱家，1920年还演出了第一部弗拉门戈歌剧，1922年在格拉纳达举行了有名的弗拉门戈比赛，但随后这门艺术就趋于衰微。直到1956年在科尔多瓦举行弗拉门戈比赛，1957年在海雷兹建立了弗拉门戈学，这种艺术才得到复兴和发展。 在表演时，一群歌手、舞蹈家和吉他手组成的弗拉门戈，团体围成半园形，坐在舞台的椅子上。演出开始于歌手的喊叫声，感叹声，这是为了在观众的心中点燃热情之火，吉他手则奏出引子或前奏，为歌舞营造一种特殊的气氛，歌手在开始演唱前也要调节自己的声音，暗哑并带有鼻音色彩的音色至今仍是弗拉门戈歌声的特点，装饰音多用在重音上，类似倚音的婉转曲折的音很常见，而且常常是微分音。这是在其他西欧国家是很少见的一种唱法。歌词内容大多与上帝、爱情、女人、死亡有关，但很少有关于金钱，发财的内容，这可能与吉卜赛人的某些观念有关。吉他既用来独奏也用于伴奏，但主要当作节奏乐器来用，它有三种基本音乐手法，一是用手指扫弦，二是旋律经过句，三是在歌唱中间作即兴式的间奏。吉他演奏者的力度较大，音色也比较明亮。 在整个表演过程中，演员和观众都在追求一种“杜恩德”--即心灵的相通，把它作为最高的境界。 弗拉门戈的节奏既有自由的散板，也有有规则的循环拍，常用的12拍就有3、6、8、10、12五个重音，有点类似印度的塔拉节拍。音乐进行中增二度音程很多。从音乐风格来看，佛拉门弋音乐是一种忧郁哀伤与狂热奔放的混合体，弗拉门戈舞蹈中的男子非常注重脚的动作，用脚跟敲击地板时发出的节奏十分清脆，女子的舞蹈则更注重手、腕、臂、腰、臀的动作，舞蹈者常常情不自禁地一面踏地，一面捻手指发声，再加上歌声、拍手声、喊叫声、舞步踢踏声、舞蹈者手中的响板声，互相交错应和，表演者与观众心心相应，气氛十分热烈。 弗拉门戈的古典歌曲和舞蹈节目约有60多种，有单人表演的，也有集体表演的，有些是有伴奏的，有些是无伴奏的。按其内容大致可分为三类，即深沉的歌，又称大歌，这是最早的弗拉门戈音乐，也是最难唱的一种，歌唱时节奏自由，音色暗哑，有时近于喊叫，微分音、装饰音很多，东方色彩最浓。另一类是轻快的歌，它的情绪欢乐愉快，曲调流畅，节奏鲜明，比较轻快，并吸收了一些拉丁美洲音乐的因素，还有一类是中庸的歌，它介于这两种歌曲之间。 演唱弗拉门戈的歌唱家很多，在1920年左右的黄金时代最著名的是吉卜赛男歌手马诺洛加拉科尔和女歌手帕斯托拉·帕冯。当代最杰出的男歌手是加马隆·伊斯拉，他既有明亮的高音，又有粗犷的音色，他表达的情感深深触动了每位观众的心弦。最著名的女歌手为加尔曼·里纳雷斯，早期最著名的弗拉门戈吉他演奏家为拉蒙·蒙多亚，他吸收了古典吉他的演奏技巧，发展了弗拉门戈吉他的演奏艺术。当代最有名的演奏家是帕科·卢西亚，他受到了拉丁美洲音乐的影响，有所创新。 近年来在年青一代中，已有人将弗拉门戈艺术与爵士乐，巴西的博萨诺瓦，加勒比海的沙尔萨和布鲁斯摇滚乐相结合，形成了一种新的流派。

2010 film by Carlos Saura