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Ana y los lobos

I never liked Carlos Saura, with the exception of hunting, intense than most. Consider his films a little more than continuous solipsistic exercises where symbology abuse cheapest canceling any hint of narrative filmmaking. Ana y los lobos is no different, pretentious film that aims to go further, be bigger than life, but that is half way through the evidence of their proposal, which is nothing to analyze the decadent Spain of the already if decadent dictatorship. Prototypical characters too much as long as we stay with a sector of the English population, surrealism too forced and a waste all that interesting a topic such as masks and identities constructed in the face of society. The brother of a girl wearing a failed really pathetic wannabe masquerading as something it is not, the other brother, a couple do not want (Who knows if she married a penalty?) and played by Fernan Gomez as the classic that want to see what is different and battle roots when it ceases to be another loser dissatisfied with his life. I think he could have got more juice out of his idea less pretentious and yes again, to call it in some way, conventional. Saura should see some of the Cronenberg film and learn what it is to show both sides of a person. Nor I never believed in the disruption it causes in their lives the character of Anna, I've never swallowed a breath of fresh air that is neither that all rely so much on it, and the fascination it provokes. There is no reason for it beyond wanting to symbolize the pseudoaperturismo of Franco in his last years and the shock was at the entrance of "modernity." I am very classical and I like that the characters are well shaped, and then go B of A, and all respond to an order. I get bad this kind of films where, under the guise of postmodernism or what not, unreasonably abused or irrational actions of a script without rhyme or reason beyond that which its creator has in mind. Yes, the movie has sent me constantly feeling of disgust felt by the protagonist, is perhaps the only aspect that I can say I was convinced.

In addition, a staging corrientita, saved by the photo (as usual in his films) and assembly, and good performances, though the latter, with Geraldine Chaplin and Fernan Gomez is the bare minimum. Highlights: piece of traveling to the face of Fernando Fernan Gomez when he sees for the first time Ana Brutal seventies cinema lesson. Of course, as Saura, it's indie films.