Realização:
Luis BuñuelArgumento:
Luis BuñuelCâmara:
Gabriel FigueroaMúsica:
Luis Hernández BretónElenco:
Arturo de Córdova, Delia Garcés, Carlos Martínez Baena, Roberto Meyer, Ignacio Peón, María Gentil Arcos, Álvaro Matute, Aurora Walker, León Barroso (mais)Sinopses(1)
Numa cerimónia religiosa, o olhar de Francisco é atraído pelos pés de Gloria, sentada na primeira fila. Depois da missa, segue-a mas perde-lhe o rasto. Encontra-a e afasta um namorado incómodo, Raul. Francisco e Gloria casam. Logo na viagem de núpcias começa um pesadelo para Gloria, de que ela escapa com a ajuda de Raul, com quem refaz a vida. Tem um filho, a quem dá o nome de Francisco. Em família, visita o ex-marido, que foi viver a sua amargura para um convento. É informada de que o estado dele regista francas melhoras, que parecem ser contrariadas pela sua incapacidade de andar a direito. (Leopardo Filmes)
(mais)Vídeos (1)
Críticas (2)
The 1926 novel "Él" by Spanish author Mercedes Pinto inspired Buñuel to write a rather interesting film essay on the subject of interpersonal relationships. It’s about dependence on a partner, the relationship to one’s environment, the ego, and other usual corners of the human soul. As is traditional with Buñuel, I have a hard time with the transposition of literary models forward in time, and of course, as ever, I don't rest my eyes with pleasure on that 1950s aesthetic, which is simply questionable. However, if I detach myself from the determination of place and time, I can appreciate and even surprisingly recommend this intimate story about a marriage. I'd just be very careful about comparing it to Fassbinder's film Martha; the story is much more comparable to Buñuel's later adaptation of the book "The Woman And The Puppet." ()
This Strange Passion is like our premier, Paroubek. He also has the sexiest brain ever that knows that without believable characters, a picture like this just can’t work. It’s a sort of In a Lonely Place with more (much more) straightforward screenplay when the entire story is obvious in the first five minutes of footage, which is a great shame. At least it was partly made up for by the marvelous acting performances and exquisite camera that becomes all the more apparent because it shows “just" a regular intimate interior picture. ()
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