Ana y los lobos

In times of fighting a fascist state there really isn’t time for subtlety so if you go into any of these Saura’s movies needing that you’re going to be disappointed. A close up ending that rivals the emotional core of any of Geraldine’s father’s films

Dripping with allegorical references to Francoist Spain, the plot is wild and almost surreal, yet with its own strong internal logic. And the histrionics are much more fun to watch than all this sounds...the actors are clearly having a field day. It's good to finally hear Geraldine in a Saura role with her own speaking voice--which makes it her strongest performance in a Saura film. José Maria Prada is fantastic as the authoritarian brother, and Rafaela Aparicio is just fabulous as the mother.

Ana e os lobos estreava há 50 anos em Sevilla. Sou partidária que todo Saura é para ser reverenciado, mas sou de que o ciclo Geraldine Chaplin dos anos 70 deveria ser triplamente reverenciado porque a quantidade de obras-primas saídas dalí só é apto aos melhores diretores. Mas talvez meu fascínio por esse período da carreira dele se deva a uma predileção pessoal: simbolismo de cinema político. Amo filmes feitos sob regimes ditatoriais porque aplica-se a fina flor da semiótica neles e esse ainda

As a political allegory of Francoist Spain - with the three brothers representing the unholy trinity of the uniformed fascists, the hedonistic elites, and the pointlessly ascetic church - this is as coarse, redundant and uninsightful as most political allegories are. Considered apart from the allegory, it's actually rather interesting trying to guess the intentions of Anna's character (Chaplin) in what remains (sans symbolism) a very bizarre situation.

Spain, a hacienda in the country. Three middle-aged brothers: one a fascist, the second a pervert, the third an ascetic. They vie for the attraction of a young, long-haired, foreign maid, who knowingly plays with their unique predilections. She teases, and takes a step back, and teases, and doesn't know the danger of frustrated men in heat. Well, is this an allegory then?

A continuation of similar themes found in PEPPERMINT FRAPPÉ, with an equally dark and disturbing ending.

'Las cinco condiciones del pájaro solitario'. Immersive but very unnatural. Brothers are clearly symbols for Spain, so is the mother, and Geraldine could be the outside world, of the future, if you will. Geraldine, so pretty and sexy. How could Franco's Regime allow this to be published? The more movies like this I watch the better opinion I have of his oh so ugly R.