Carlos Saura
Regissør, Manusforfatter, Produsent, Skuespiller
4. januar 1932 — 10. februar 2023 (91 år)
Carlos Saura Atarés (4 January 1932 – 10 February 2023) was a Spanish film director, photographer and writer. With Luis Buñuel and Pedro Almodóvar, he is considered to be among Spain's great filmmakers. He had a long and prolific career that spanned over half a century, and his films won many international awards.
Saura began his career in 1955 making documentary shorts. He gained international prominence when his first feature-length film premiered at Cannes Film Festival in 1960. Although he started filming as a neorealist, Saura switched to films encoded with metaphors and symbolism in order to get around the Spanish censors. In 1966, he was thrust into the international spotlight when his film The Hunt won the Silver Bear at the Berlin International Film Festival. In the following years, he forged an international reputation for his cinematic treatment of emotional and spiritual responses to repressive political conditions.
By the 1970s, Saura was the best known filmmaker working in Spain. His films employed complex narrative devices and were frequently controversial. He won Special Jury Awards for Cousin Angelica (1973) and Cría Cuervos (1975) in Cannes, and he received an Academy Award for Best Foreign Language Film nomination in 1979 for Mama Turns 100.
In the 1980s, Saura was in the spotlight for his Flamenco trilogy – Blood Wedding, Carmen and El amor brujo, in which he combined dramatic content and flamenco dance forms. His work continued to be featured in worldwide competitions and earned numerous awards. He received two nominations for Academy Awards for Best Foreign Language Film for Carmen (1983) and Tango (1998). His films are sophisticated expression of time and space fusing reality with fantasy, past with present, and memory with hallucination. In the last two decades of the 20th century, Saura concentrated on works uniting music, dance and images.
Saura began his career in 1955 making documentary shorts. He gained international prominence when his first feature-length film premiered at Cannes Film Festival in 1960. Although he started filming as a neorealist, Saura switched to films encoded with metaphors and symbolism in order to get around the Spanish censors. In 1966, he was thrust into the international spotlight when his film The Hunt won the Silver Bear at the Berlin International Film Festival. In the following years, he forged an international reputation for his cinematic treatment of emotional and spiritual responses to repressive political conditions.
By the 1970s, Saura was the best known filmmaker working in Spain. His films employed complex narrative devices and were frequently controversial. He won Special Jury Awards for Cousin Angelica (1973) and Cría Cuervos (1975) in Cannes, and he received an Academy Award for Best Foreign Language Film nomination in 1979 for Mama Turns 100.
In the 1980s, Saura was in the spotlight for his Flamenco trilogy – Blood Wedding, Carmen and El amor brujo, in which he combined dramatic content and flamenco dance forms. His work continued to be featured in worldwide competitions and earned numerous awards. He received two nominations for Academy Awards for Best Foreign Language Film for Carmen (1983) and Tango (1998). His films are sophisticated expression of time and space fusing reality with fantasy, past with present, and memory with hallucination. In the last two decades of the 20th century, Saura concentrated on works uniting music, dance and images.
Kjent for
Filmografi
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| 2022 | |
| 2021 | The King of all the World · as Screenplay |
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| 2001 | Bunuel and King Solomon's Table · as Screenplay |
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| 1993 | Marathon · as Screenplay |
| 1992 | Sevillanas · as Screenplay |
| 1990 | Oh, Carmela! · as Screenplay |
| 1989 | The Dark Night of the Soul · as Screenplay |
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| 1978 | Blindfolded Eyes · as Screenplay |
| 1977 | Elisa, My Life · as Screenplay |
| 1976 | Cría Cuervos · as Screenplay |
| 1974 | Cousin Angelica · as Screenplay |
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| 1969 | Honeycomb · as Screenplay |
| 1968 | Stress Is Three · as Screenplay |
| 1967 | Peppermint Frappé · as Screenplay |
| 1966 | The Hunt · as Screenplay |
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| 1960 | The Delinquents · as Screenplay |
| 2026 | Ese niño de la fotografía. Carlos Saura · as Self |
| 2022 | Walls Can Talk · as Self |
| 2022 | José Luis López Vázquez. ¡Qué disparate! · as Self |
| 2022 | Goya, Carrière & the Ghost of Buñuel · as Self |
| 2018 | Searching for Ingmar Bergman · as Self - FilmmakerPå Plex |
| 2017 | Saura(s) · as Self |
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| 2016 | Miguel Picazo, un cineasta extramuros · as Self |
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| 2015 | Historia de Nuestro Cine · as Self - Panelist |
| 2014 | Aragón rodado · as Self |
| 2012 | 24 horas en la vida de Querejeta · as Self |
| 2009 | IMPRESCINDIBLES · as Self |
| 2009 | La España de la copla · as Self |
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| 2008 | Crítico · as Self |
| 2006 | Protagonistas del recuerdo · as Self |
| 2006 | XX premios Goya · as Self |
| 2004 | The 2004 European Film Awards · as Self |
| 2002 | Salamanca to Nowhere · as Self |
| 2001 | Bunuel and King Solomon's Table · as Self |
| 2001 | Premio Donostia a Paco Rabal · as Self |
| 2000 | L'invité · as Self |
| 2000 | Regarding Buñuel · as Self |
| 1996 | Redes · as Self - Guest |
| 1991 | Movie Days · as Self - Interviewee |
| 1984 | Buñuel · as Self |
| 1976 | A Fondo · as Self - Guest |
| 1975 | Arena (1975) · as Self |
| 1975 | Sunday meetings · as Self |
| 1960 | El cochecito · as Fraile 1 |
| 1958 | The Little Apartment · as (uncredited) |
| 2016 | Jota de Saura · as Art Director |
| 2007 | Fados · as Production Design |
| 2005 | Iberia · as Production Designer |
| 1984 | Los zancos · as Screenplay By |
| 1964 | Weeping for a Bandit · as Written By |
| 1958 | Cuenca · as Cinematographer |
| 1958 | Cuenca · as Story |