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| | | | *** Pere Portabella - Complete Works (22 Films) NEW PAL 8-DVD Box Set *** | | | | | | | | Brand new, official studio-released DVD of this great film, imported from France ( No compteu amb els dits / Nocturno 29 / Lectura brossa / Vampir-cuadecuc / Play back / Acció santos / Umbracle / El sopar / Poetes catalans / Aidez l'espagne / Miró l'altre / Miró la forja / Miró tap s / Premios nacionales ) ( Informe general sobre algunas cuestiones de inter s para una proyección pública / Puente de varsovia (Warsaw Bridge) / La tempesta / No al no / Plan Hidrológico Nacional (P.H.N.) / Die stille vor bach (The Silence Before Bach) / Mudanza / Uno de aqu llos ) This is a PAL, Region 0 DVD. This DVD will play on standard DVD players in Europe, Africa, Middle East, Asia (except Japan, Korea, Philippines and Taiwan), Argentina, Brazil, Australia, New Zealand.
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| | | | Original Title: No compteu amb els dits / Nocturno 29 / Lectura brossa / Vampir-cuadecuc / Play back / Acció santos / Umbracle / El sopar / Poetes catalans / Aidez l'espagne / Miró l'altre / Miró la forja / Miró tap s / Premios nacionales
| Alternate Title: Informe general sobre algunas cuestiones de inter s para una proyección pública / Puente de varsovia (Warsaw Bridge) / La tempesta / No al no / Plan Hidrológico Nacional (P.H.N.) / Die stille vor bach (The Silence Before Bach) / Mudanza / Uno de aqu llos
| | | Synopsis: | Pere Portabelle (Figueres, 1927) kept his political commitment to all the movements concerned against the dictatorship of Francisco Franco from the 1960's. He was elected Senator in the first democratic election after Franco's death, and later became member of Catalonia's Parliament. As a filmmaker, he has kept a relevant activity for more than four decades. As the head of Films59 he produced some of the most emblematic films of Spanish cinema: Carlos Saura's Los golfos (The Hooligans, 1959), Marco Ferreri's El cochecito (The Wheelchair, 1960) and Luis Bu uel's Viridiana (1960). As a film director, he makes his own creations by bringing together the legacy of the avant-garde culture and his search to breach the boundaries of languages. He was the only Spanish artist invited to the documenta XI of Kassel (2002). Films: No compteu amb els dits (1967), Nocturno 29 (1968), Lectura brossa (2003), Vampir-cuadecuc (1970), Play back (1970), Acció santos (1973), Umbracle (1972), El sopar (1974), Poetes catalans (1970), Aidez l'espagne (1969), Miró l'altre (1969), Miró la forja (1973), Miró tap s (1973), Premios nacionales (1969), Informe general sobre algunas cuestiones de inter s para una proyección pública (1976), Puente de varsovia (1989), La tempesta (2003), No al no (2006), Plan hidrológico (2004), Die stille vor bach (2007), Mudanza (2008) & Uno de aqu llos (2010).
No compteu amb els dits (1968) The medium-length film 'No conteu amb els dits', Pere Portabella's first work as a director, starts with the following phrase: 'defeated
but not conquered'. This may or should be taken as an allusion to the technical K.O. taken by Portabella from Franco's regime during the sixties as regards his work as a producer. Through the extremely raging playthings of the words of Catalan poet Joan Brossa, Portabella attempts to dismantle the forms of advertising discourse of that time.
Nocturne 29 (1968) Portabella's first feature, co-scripted by poet Joan Brossa, became one of the most influential works of the Barcelona avant-garde, although like all his early films, it circulated only in an underground fashion. Eschewing dialogue, the director constructs a non-narrative story in fragments that reveal the daily lives of an adulterous couple interspersed with a cryptic stream of unrelated imagery. The title of this homage to directors including Eisenstein, Antonioni, Bergman, and Bu uel refers to the 29 'black years' of the Franco dictatorship.
Lectura Brossa (2003) A screening of the whole text of the play by Joan Brossa, El sol con cara with a dramatized reading by Lina Lambert (voice) and Eva Maria in sign language. This representation took place in Barcelona on February 26, 2003 in the Convent of Sant Agust as part of the Brossa viu event organized by the Espai Brossa and the SGAE within the framework of La pres ncia forta: 5 anys Espai Brossa (A Strong Presence: 5 years of Espai Brossa).
Cuadecuc, vampir (1971) Vampir-Cuadecuc is possibly a key film in understanding the transition in the Spanish film world from the period of the 'new cinemas' (permitted by the Franco government) towards the illegal, clandestine or openly antagonistic practices against the Franco regime. It consists of shooting the filming of a commercial film El conde Dr cula by Jesús Franco. Portabella practices two types of violence on the standard narrative: he totally eliminates color and substitutes the soundtrack with a landscape of image-sound collisions by Carles Santos. Filmed provocatively in 16mm and with sound negative, the tensions between black and white favor the strange 'fantasmatic materialism' of this revealing analysis of the construction mechanism for the magic in dominant narrative cinema, which at the same time constitutes a radical intervention in the Spanish cinematographic institution.
Play Back (1970) Playback is presented as a short rehearsal in a double sense. It is a satellite of the constellation of works that Portabella dedicates to the analysis of the 'materiality' of aesthetic and cultural languages (Vampir-Cuadecuc and Miró l'Altre among others can also be understood in this manner). At the same time, he analyzes the rehearsals that Carles Santos carries out for the playback recording of a film on the work of Antoni Gaudi. The choir of the Gran Teatro del Liceu of Barcelona reads fragments from Wagner's Tannhauser, Lohengrin and the Valkyries. The film was shot in the theater 'Llu sos de Gràcia'.
Acció Santos (1973) Acció Santos is one of Portabella's characteristic shorts that is immersed in conceptual art and the self-analysis of the artistic languages of the sixties. The film is divided into two large segments. The first is made up of a couple of fixed shots of the pianist, Carles Santos, playing the Prelude Op.45 in C sharp minor by Fr d ric Chopin. The second segment shows him listening to this own recording from a loudspeaker until he dons the headphones, therefore letting silence take over the film and consequently also over the audience in the movie theatre. The length of the silent shot is for the duration of the prelude.
Umbracle (1970) As in Vampir-Cuadecuc, this film turns on two basic axes: the inquiry into ways of cinematographic representation and a critical image of official Spain at the time of the Franco dictatorship. 'Montage ofattractions' and Brechtianism in strong doses. Umbracle is made up of fragments (some are archive footage) that resound rather than progress by unusual links, with dej vu scenes that promise us more but remaintensely unfinished. Jonathan Rosembaun said: 'few directors since Resnais have played so ruthlessly with the unconscious narrative expectations to bug us'. Learning from the feeling of strangeness caused by Rossellini as he threw well known actors into savage scenery in southern Europe.
Portabella makes Christopher Lee wander around a dream-like Barcelona. Without a doubt Portabella's most structurally complex and most profoundly political film, that is ferociously poetic..
El sopar (1974) Five ex political prisoners (Narciso Juli n, 24 years in prison - PSUC; Angel Abad, 7 years in prison - PSUC; Antonio Mar n, 8 years in prison - CCOO; Lola Ferreira, 3 years in prison - PCML; Jordi Cunill, 10 years in prison - Juventudes Libertarias de Catalu a) meet secretly in a country house one afternoon in 1974, the same day that Salvador Puig Antich is executed, to talk about their experiences in prison. After discussing hunger strikes, ways of keeping up the fight, loss of touch with reality, etc., an unexpected situation arises when one of the ex prisoners sings the praises of life in prison. The forceful response of one of his colleagues does not do away with the cathartic effect of the confession.
Poetes catalans (1970) At underground film of the 1st Popular Festival of Catalan Poetry filmed in the Proce Theater in Barcelona on May 25, 1970, in solidarity with political prisoners. The participating poets were: Agust Bartra, Joan Oliver (Pere IV), Salvador Espriu, Joan Brossa, Francesc Vallverdú and Gabriel Ferrater.
Aidez l'Espagne (1969) The Colegio de Arquitectos de Catalunya commissioned Pere Portabella to make this film for the Joan Miró retrspective exhibit in 1969. There were heated discussions on whether it would be prudent to screen the film during the exhibit. Portabella took the following stance: 'either both films are screened or they don't screen any' and, finally, both Miro l'Altre and Aidez l'Espagne were shown. The film was made by combining newsreels and film material from the Spanish Civil War with prints by Miró from the series 'Barcelona' (1939-1944). The film ends with the painter's 'pochoir' known as Aidez l'Espagne.
Miró, l'altre (1969) As publicity for the exhibit Miró L'altre, organized by the Colegio de Arquitectos de Catalunya in 1969, the Board commissioned Pere Portabella to film Miró painting the 'poster' for the exhibit on the ground floor windows of the building. Portabella was not interested in simply filming a testimonial documentary. However, he said he would do the film if after the exhibit Joan Miró himself, with the help of the cleaning staff erased his own painting. Joan Miró accepted the idea without a doubt. The complicity between the film maker and the painter is evident in the filming.
Miró La forja (1973) The film was commissioned by the Galeria Maeght to commemorate the Joan Miró exhibit organized by the French Minsitry of Cultural Affairs in the Grand Palais in Paris that opened on May 17, 1974. The film, that took five days to shoot, shows the smelting and casting process of the work known as Puertas Mallorquinas by Joan Miró. The filming team traveled to the foundry owned by the Parellada family in Llinars de Munt. The bronze sculptures weigh 1200, 800 and 650 kilos respectively and were cast in one piece in a kiln specially constructed for the occasion.
Miró Tapis (1973) The film was commissioned by the Galeria Maeght for the Joan Miró exhibit organized by the French Ministry of Cultural Affairs in the Grand Palais in Paris that opened on May 17, 1974. The film was shot in six days in Montroig del Camp (the Miró country home) and in Tarragona during the process of elaboration of an original tapestry for eight months using 1200 kilos of wool and 600 kilos for the warp. The tapestry was 6 meters wide and 11 meters long and weighed a total of 3,500 kilos. A special loom had to be built to weave it. The day the twin towers of the World Trade Center in New York were attacked, September 11, 2001, the tapestry was hanging in the hall of the one of the towers and was destroyed along with it.
Los premios nacionales (1969) In the basement of the National Library in Madrid two civil servants show us some of the canvases that won the National Painting Award between 1941 and 1969.
Informe general sobre unas cuestiones de inter s para una proyección pública (1977) This film constitutes the synthesis of Portabella's openly political clandestine films and his surroundings. Shot in the months after the death of General Franco, it is a 'documentary' film shot with the techniques of a fiction film. A coherent link in a filmography intended to explore the limits of filming representation, Informe General is about the future political representation in the Spanish transition, with a clear democratic vocation contradicted by its virtual invisibility during thirty years. The speakers are concerned with one sole question: How do you go from a dictatorship to a democracy?
Warsaw Bridge (1990) Pont de Varsòvia is dated 1989, the year of the fall of the Berlin Wall. If the predominant look in Nocturn 29 was that of the upper classes in the sixties, in Pont de Varsòvia we have shining images of the new intellectuals and the amnesic, progressive, European political classes. But beneath that sparking surface of spectacular socio-cultural events and the frivolous life in a happy Europe, lies the tension of broken memories and personal and historical cataclysms. Filmed as meticulously as contemporary comercial cinema, Pont de Varsòvias shatters the plot into a thousand fragments in a European landscape broken by the return of History. It is therefore not strange that two years later Godard should be the author of a sibling film, Germany Year 90 Nine Zero explicitly the heir to Rossellini's Germany Year Zero in 1947 post-war Europe.
La tempesta (2003) Naked bodies are buffeted by water accompanied by the music Il Temporale from the opera La Cenerentola and the overture to Il Barbiere di Siviglia both by Gioacchino Rossini. The film is part of a show by Carles Santos: El compositor, la cantante, el cocinero y la pecadora (The composer, the Singer, the Cook and the Sinner).
No al no: Visca el piano! (2006) Carles Santos plays several of his pieces on the piano. This film was made for the exhibit on Carles Santos Visca el piano! held at the Miro Foundation in the summer of 2006.
P.H.N. (Plan Hidrológico Nacional) (2004) The film is part of the full-length feature called Hay Motivo, made up of 32 shorts directed by Spanish actors and directors protesting against the policies of the Partido Popular just before the 2004 general elections. In Portabella's piece the physics professor, Pedro Arrojo lectures on the pressing need for a new water culture.
The Silence Before Bach (2007) Die Stille vor Bach is an approach to music and the trades and subjects that surround it through Bach's works. A look at the profound dramaturgic relationship between image and music where the latter is not merely conceived as subsidiary to the image butas a subject of the narration in its own right. The film springs from a previously defined musical structure. The soundtrack feeds on works by J.S.Bach and two of Felix Mendelssohn's sonatas to create an architectural vault beneath which the story of the film unfolds; a promenade through the XVIIIth, XIXth and XXIth centuries led by the hand of J.S.Bach.
Mudanza (2008) The film records the removal of furniture and objects from the building, leaving visitors able to move freely amongst its empty spaces and a silence charged with feeling.
Uno De Aqu llos (2010) Color. 3 Min
The work of Pere Portabella (Figueras, 1927) stands at the crossroads of art, film and politics. Close to the surrealist sensibility and conceptualism (he produced Viridiana by Luis Bu uel in 1962, among his colleagues are Brossa and Carles Santos), he has created since the late sixties one of the most unique filmographies of Spanish cinema, alternating with his political activity as a parliamentarian and senator. In his films, Portabella uses strategies of estrangement and dislocation that both formally bypass censorship as to enhance the expressive range of works, leading to fascinating symbolizations. Intermedio presents the international Castilian-English-French edition of the complete works of one of the key authors of contemporary Spanish cinema, unpublished to date on DVD. Contents: DVD 1 - No Compteu Amb Els Dits ·1967. Color Y B/N. 26 Min. - Nocturno 29. 1968. Color Y B/N. 83 Min. - Lectura Brossa. 2003. Color. 38 Min. DVD 2 - Vampir - Cuadecuc. 1970. B/N. 75 Min. - Play Back. 1970. B/N. 8 Min. - Acció Santos. 1973. Color. 12 Min. DVD 3 - Umbracle. 1972. Color. 85 Min - El Sopar. 1974. Color. 50 Min - Poetes Catalans. 1970. B/N. 30 Min DVD 4 - Aidez L'Espagne. 1969. B/N Y Color. 5 Min - Miró L'Altre. 1969. B/N Y Color. 15 Min - Miró La Forja. 1973. Color. 24 Min - Miró Tap s. 1973. Color. 22 Min - Premios Nacionales. 1969. Color. 4 Min DVD 5 - Informe General Sobre Algunas Cuestiones De Inter s Para Una Proyección Pública. 1976. Color. 173 Min DVD 6 - Puente De Varsovia. 1989. Color. 85 Min - La Tempesta. 2003. B/N. 6 Min - No Al No. 2006. Color. 3 Min - Plan Hidrológico. 2004. Color. 3 Min DVD 7 - Die Stille Vor Bach. 2007. Color. 102 Min - Mudanza. 2008. Color. 20 Min - Uno De Aqu llos. 2010. Color. 3 Min |
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