Reviews

" Con uñas y dientes " ( 1977 ), the second feature length movie of Paulino Viota, is a disillusioned and biting look over the years of Spanish democratic transition, narrated in a dry and scrawny style where director Paulino Viota shows the political intrigues, struggles and frustrated hopes of the first years of Spanish transition to democracy.

A brave, sharp and visceral film told in a concise way that sometimes remember the style of french director Robert Bresson and that was shot in very difficult economic conditions.

One of the key titles of the Spanish transition age and one of the firsts in showing without lacks the situation of that period.

An original, surreal and disturbing film that illustrates better than another movie Rollin's peculiar conception of cinema:a mixture of Gothic horror tale's imaginary , politic surrealism, dark romanticism, pulp comic book aesthetic and camera experimentalism. The film is conceived as a collage of images,inspired by the work of his favourite painter, Clovis Trouille, solution that allows him to blend much of the references of his ambiguous imaginary: the dreamy and dark romanticism poetry of Tristan Corbiere ,the sexy shocker surrealism of Georges Bataille, the thought-provoking and political cinema of Luis Buñuel, the pulp and bizarre style of Gaston Leroux and the poetic realism of Jacques Prevert.A non-narrative vampire tale: half romantic, half conceptual and totally experimental.

A low-budget film directed efficiently by British horror master Terence Fisher. The cheesy special effects and the poor aliens design don't ruin in any moment this very attractive science-fiction movie. Although the first part of the film is higher up of its last thirty minutes, the movie keeps the interest until the ending. Atmospherical shots, a conventional plot line ( a group of survivors of an environment disaster fight for their lives against an alien invasion )supported by a convincing script and fine actors direction. Not so fine as other science-fiction titles by Fisher himself as " The night of the big heat " or "Island of terror "it contains some splendid, very creative moments like the astoundin gopening credits where we assist to a chain of strange and apparently disconnected accidents ( including a train derailment ): a lesson of cinematographic economy and atmospheric invention worthy of this subversive and very talented director .

A very imaginative cartoon from the silent era,produced by the most influential cartoon pioneer of all times, Max Fleischer, and directed by his talented brother Dave.The perfect mixture of different techniques and visual tricks ( ink drawing, stop-motion animation(animation frame by frame ),abstract images painted over glass, animated paper figures, crazy camera movements, the use of archive footage and transparencies ); the intelligent use of animation and living-action and the bizarre and surreal gags and logical and sarcastic invention places it as one of my favorites in cartoon history. The action succeed in calculated crescendo and the scene of the holocaust is a happy lesson of how to get an efficient film without expensive stuff.This cartoon was produced in 1928 by Fleishers' independent studio, and connects with the European vanguards sensibility like dadaism or surrealism in its revolt against social conventions and its interest for experimentation, technique and the suggestions of dreams .