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The Best Pere Portabella Directed Movies

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poster

70

41

6.7

/725/

64

/22/

70

/19/

3.5

/874/

83

/18/

66

/23/

70

/5/

A beautiful, sometimes faintly bonkers celebration and contemplation of the role Bach’s music plays in the world today. Blending historical reconstruction with very loosely linked ‘dramatic’ scenes and documentary sequences, the film constitutes a playful, painterly sequence of variations on the argument that Johann Sebastian changed the way the world hears thanks to his extraordinary ear for harmony.

poster

61

41

6.5

/981/

55

/34/

60

/38/

3.6

/3242/

56

An atmospheric essay, which is an alternative version of Count Dracula, a film directed by Jess Franco in 1970; a ghostly narration between fiction and reality.

poster

60

17

6.2

/335/

61

/13/

52

/16/

3.4

/867/

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 Buñuel refers to the 29 “black years” of the Franco dictatorship. — chicago.cervantes.es

poster

57

13

6.6

/361/

48

/11/

46

/10/

3.6

/957/

57

/2/

A female professor, a writer, and an orchestra conductor--three characters, two couples--attend a grand literary cocktail party. The writer has just won the prize for his book "Warsaw Bridge." The winner answers the journalist's questions one after another, but he is unable to come up with a synthesis of the plot of his book. They will simply have to read it.

poster

59

11

6.3

/275/

48

/7/

57

/10/

3.5

/549/

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 of attractions” and Brechtianism in strong doses. Umbracle is made up of fragments (some are archive footage) that resound rather than progress by unusual links, with dejá vu scenes that promise us more but remain tensely 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.

poster

58

6

6.6

/101/

40

/2/

58

/5/

3.4

/347/

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.

poster

?

10

/1/

N/A

poster

?

6.3

/92/

50

/1/

50

/4/

Portabella is putting forward the second part of one of his historic works, the “General report on certain matters of interest for a public screening”, which peeked out in 1976 at the start of the political transition process after Franco’s death. This second “Report” is made in the context of a severe systemic crisis in the cultural, economic-financial, political and energy fields. Above all, it nevertheless bears witness to the way civil society is coming out of this crisis with a new prominence, consisting quite simply in ordinary people’s recovering politics.

poster

56

?

5.6

/120/

63

/3/

45

/6/

3.1

/465/

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.

poster

59

?

6.1

/101/

50

/6/

60

/7/

3.3

/342/

The Colegio de Arquitectos de Catalunya commissioned Pere Portabella to make this film for the Joan Miró retrospective 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.

poster

?

5.9

/52/

46

/3/

48

/5/

The film was conmissioned 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 travelled to the foundry owned by the Parellada family in Llinars de Munt.

poster

46

?

5.1

/87/

30

/2/

42

/5/

3.2

/227/

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.

poster

?

6.5

/17/

10

/1/

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: Agustí Bartra, Joan Oliver (Pere IV), Salvador Espriu, Joan Brossa, Francesc Vallverdú and Gabriel Ferrater.

poster

?

5.7

/12/

a one-woman stage reading of a Joan Brossa play

poster

49

?

5.6

/386/

49

/10/

42

/13/

A multi-part feature on the governing body of Spain, the Popular Party under Jose María Aznar. Themes include the bombing of Iraq, immigration, U.S. fire in Baghdad, and the manipulation of the media.

poster

?

5.3

/63/

15

/2/

40

/4/

The film is divided into two antithetical segments ‒ The first is made up of a couple of fixed shots of the pianist, Carles Santos, playing Chopin's Prelude in C-sharp minor, Op.45. 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 lenght of the silent shot is for the duration of the prelude.

poster

63

?

6.6

/171/

53

/6/

62

/8/

3.6

/373/

How does a country go from a dictatorship to a democracy? A detailed report on the political representation in the heart of the Spanish Transition, only a few months after General Franco’s death, when the sincere democratic vocation of Spanish people must effort to destroy, one heavy brick after another, the wall that those who supported the dictatorship and those who fought it from the exile built with resentment, hatred and prejudices.

poster

?

10

/1/

100

/1/

An itinerary through the great creations of Catalan art: Romanesque, Gothic, Modernist and Contemporary; with interviews to Catalan creators such as architect Ricardo Bofill, poet Pere Gimferrer, sculptor Susana Solano, and painter Antoni Tàpies.

poster

49

?

6.6

/138/

10

/1/

52

/5/

3.5

/316/

Five ex-political prisoners meet secretly in a country house one afternoon in 1974 on the same day that Salvador Puig Antich is executed, to talk about their experiences in prison.

poster

54

?

5.6

/93/

40

/3/

58

/4/

3.2

/233/

With musical accompaniment from the zarzuela 'The drum Grenadiers' by Ruperto Chapí, a pair of custodians are in the basement of the National Library of Madrid showing some canvas awarded with the National Prize for Painting between 1941 and 1969.

poster

?

6.1

/48/

35

/2/

50

/2/

Commissioned by the Maeght Gallery with the exhibition of Joan Miró, organized by the French Ministry of Cultural Affairs at the Grand Palais, which opened on May 17, 1974 in Paris. This film was shot in six days in Montroig del Camp (at the Miró) and Tarragona during the implementation process, by Josep Royo, a tapestry by Joan Miró. Five people worked for eight months in the realization of this tapestry, using wool 1200kg and 600kg for the warp. The total weight of 3500kg and a half was six meters wide by 11 meters long. They need a purpose built weaving loom. The day of the attack on the World Trade Center in New York on September 11, 2001, the tapestry was placed in the lobby of one of the towers when they were demolished.

poster

53

?

6.1

/97/

40

/2/

48

/5/

3.3

/220/

"Mudanza" (Removal) came to be made after the curator Hans Ulrich Obrist was asked for involvement in a project in the Huerta de San Vicente, the home and museum of the García-Lorca family in Granada. 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 and resonance and the take from the experience whatever they demand from it - thus making poet Federico García Lorca's emotive and historic absence even more powerful, evident and heartfelt.

poster

?

5.7

/71/

30

/2/

44

/5/

Short film by Spanish/Catalan film maker Pere Portabella.

poster

?

The film is part of the feature film "Hay motivo", made up of 32 short films directed by Spanish directors and actors against the policies of the Partido Popular just before the 2004 elections. In Portabella's participation, physics professor Pedro Arrojo addresses the urgent need for a new water culture.

poster

?

N/A

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