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...works of other prominent Spanish filmmakers such as Carlos Saura, Luis Bunuel, and Luis Berlanga will be shown. Bunuel's Viridiana (1961), one of only three films that the famous director was allowed to make in Spain, and which was banned in Spain at the time of its release, is "one of the landmarks of Spanish film," says Antonio Monegal, a graduate student in the Spanish department and former instructor of Spanish F, "Contemporary Spanish Film...

Author: By Melanie R. Williams, | Title: Films that Flouted Franco | 9/30/1988 | See Source »

...erotic obsession that has become a fecund source of material for generations of movie directors. Cinematic treatments have run the gamut from Charlie Chaplin's burlesque Carmen (1916) to the soft-porn Carmen, Baby (1967). The past year alone has seen radical film versions by Peter Brook, Carlos Saura and Jean-Luc Godard...

Author: /time Magazine | Title: COUNTRY: From Heartland to Heartthrobs | 10/8/1984 | See Source »

...festival's $1.3 million annual budget and reap many more millions of tourist dollars. The gentry could be generous to films from abroad, including Martin Ritt's U.S. entry Cross Creek, a dewy-eyed swamp drama starring Mary Steenburgen as Novelist Marjorie Rawlings, and Carlos Saura's dance film, Carmen. But for the four French films in competition-Jean Becker's One Deadly Summer, Patrice Chereau's The Wounded Man, Jean-Jacques Beineix's The Moon in the Gutter and even Bresson's L'Argent-the locals saved their special scorn...

Author: /time Magazine | Title: Show Business: In a Bunker on the Cote d'Azur | 5/30/1983 | See Source »

...have in normal life." But Chaplin has little sympathy for Lily, who ignores love in favor of a convenient marriage and who snuffs herself out with chloral after her reputation is compromised. Says Chaplin, who for 13 years has lived uncompromisingly with Spanish Director Carlos Saura: "I like playing her. I wouldn't want to live next door...

Author: /time Magazine | Title: People, Oct. 8, 1979 | 10/8/1979 | See Source »

...potential the publicity shills lead you to believe, and she possesses an evident acting talent that here lies largely seem to decide whether to make Violet, the girl prostitute, into a victim or a vixen. Malle could have cast her as the silent but justice, like Anna in Carlos Saura's recent haunting film, Cria. Or Violet could have childhood--the kid forced to grow up too core of vulnerability. (Jodie Foster's teenage comes to mind.) Instead, Violet's is a face not to lurk in corners but to skip through halls. Her coping mechanism...

Author: By Mark T. Whitaker, | Title: Malle a la Coquette | 4/24/1978 | See Source »

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