Podcast appearances and mentions of luis bu

Brassai & Henry Miller: Paris at Night. 1931. Bringing It All Back Home returns with a look back at two artists working in Paris in the early 30s: Brassai & Henry MIller. Topics: Night photography, Voigtlander Bergheil 6X9, Miller's Letters To Emil, Luis Buñuel, Un Chien Andalou, The Eye of Paris.links:https://en.wikipedia.org/wiki/Un_Chien_Andalouhttps://en.wikipedia.org/wiki/Brassaïhttps://www.amazon.com/dp/0300192517?ref=ppx_yo2ov_dt_b_fed_asin_title

Elena Poniatowska, Mexico's most celebrated journalist and one of the most significant literary voices in the Spanish-speaking world, argues in this conversation that the crisis of contemporary journalism is inseparable from the collapse of critical reading—and that both are symptoms of a deeper cultural abandonment. Born in Paris in 1932 to a French-Polish father and Mexican mother, Poniatowska contends that her formation as a writer was shaped by displacement, by learning to listen to those rendered voiceless by history, and by understanding that journalism must be an act of solidarity before it is anything else. Widely credited with helping to establish the genre of testimonio in Latin American letters, she transformed the voices of the marginalised into literature that forced an entire nation to confront its own silence. She maintains that her landmark work La Noche de Tlatelolco was not a journalistic achievement but a moral obligation, and reflects on her decision to refuse the Xavier Villaurrutia Prize, asking who would award the dead. Poniatowska insists that the greatest threat to literature and journalism today is not artificial intelligence but the disappearance of patience—the willingness to sit with a text, a story, or a life long enough for meaning to emerge. At 94, she affirms her belief in the innate goodness of human beings as not a sentiment but a necessity.Elena Poniatowska, la periodista más célebre de México y una de las voces literarias más significativas del mundo hispanohablante, sostiene en esta conversación que la crisis del periodismo contemporáneo es inseparable del colapso de la lectura crítica—y que ambos son síntomas de un abandono cultural más profundo. Nacida en París en 1932 de padre franco-polaco y madre mexicana, Poniatowska afirma que su formación como escritora estuvo marcada por el desplazamiento, por aprender a escuchar a quienes la historia había silenciado, y por comprender que el periodismo debe ser ante todo un acto de solidaridad. Ampliamente reconocida por haber contribuido a establecer el género del testimonio en las letras latinoamericanas, transformó las voces de los marginados en literatura que obligó a una nación entera a confrontar su propio silencio. Sostiene que su obra emblemática La Noche de Tlatelolco no fue un logro periodístico sino una obligación moral, y reflexiona sobre su decisión de rechazar el Premio Xavier Villaurrutia, preguntando quién iba a premiar a los muertos. Poniatowska insiste en que la mayor amenaza para la literatura y el periodismo hoy no es la inteligencia artificial sino la desaparición de la paciencia—la disposición a permanecer con un texto, una historia o una vida el tiempo suficiente para que emerja el significado. A los 94 años, reafirma su creencia en la bondad innata de los seres humanos no como un sentimiento sino como una necesidad.English transcript:SAVAGE MINDS — Elena PoniatowskaJulian Vigo (00:00:15):Welcome to Savage Minds.Julian Vigo (00:00:26):I am your host, Julian Vigo.Julian Vigo (00:00:30):Today's guest is Elena Poniatowska Amor,Julian Vigo (00:00:33):daughter of a French father of Polish origin, Jean E.Julian Vigo (00:00:37):Poniatowski, and Mexican mother Paula Amor.Julian Vigo (00:00:41):She was born in Paris in 1932.Julian Vigo (00:00:46):She has practiced journalism since 1953 at the newspapers El Día, Excélsior, Novedades, and La Jornada.Julian Vigo (00:00:57):She is the first woman to receive the National Journalism Prize.Julian Vigo (00:01:02):Among her works is La Noche de Tlatelolco,Julian Vigo (00:01:05):a classic since its publication, for which she was awarded the Xavier Villaurrutia Prize,Julian Vigo (00:01:12):which she refused, asking who was going to award the dead.Julian Vigo (00:01:17):Her novels and stories include La Flor de Lis,Julian Vigo (00:01:20):De Noche Vienes and Tlapalería,Julian Vigo (00:01:24):Paseo de la Reforma,Julian Vigo (00:01:26):Hasta No Verte Jesús Mío,Julian Vigo (00:01:28):The Life of a Mexican Soldadera,Julian Vigo (00:01:31):Querido Diego Te Abraza Quiela, Tinísima, winner of the Mazatlán Prize in 1992, La Piel del Cielo,Julian Vigo (00:01:40):winner of the Alfaguara Novel Prize in 2001, and El Tren Pasa Primero,Julian Vigo (00:01:48):about the lives of Mexican railway workers,Julian Vigo (00:01:52):winner of the Rómulo Gallegos International Novel Prize in 2007. Leonora won the Premio Biblioteca Breve Seix Barral in 2011. El Universo o Nada (2013) is the biography ofJulian Vigo (00:02:07):astrophysicist Guillermo Haro. Ondas de la Niña Mala is her first poetry collection, andJulian Vigo (00:02:14):her children's books include Boda en Chimalistac, La Vendedora de Nubes,Julian Vigo (00:02:20):El Burro que Metió la Pata, Sansimonsi, illustrated by Rafael Barajas el Fisgón, and ElJulian Vigo (00:02:27):Niño Estrellero by Fernando Robles, and El Charito Cantor by Osvaldo Hernández.Julian Vigo (00:02:34):Her most recent novel, El Amante Polaco, portrays the last king of Poland, Stanisław AugustJulian Vigo (00:02:41):Poniatowski. Translated into 20 languages. Gabi Brimmer and Las Mil y Una, the story ofJulian Vigo (00:02:48):Paulina,Julian Vigo (00:02:49):address social issues.Julian Vigo (00:02:52):After receiving honorary doctorates from UNAM and UAM,Julian Vigo (00:02:57):she was awarded them from the University of Puebla,Julian Vigo (00:03:01):Sonora, Estado de México,Julian Vigo (00:03:04):Guerrero,Julian Vigo (00:03:06):Chiapas, and Puerto Rico.Julian Vigo (00:03:09):She also received honorary degrees from the New School for Social Research in New York,Julian Vigo (00:03:13):Manhattanville College, and Florida Atlantic University in the United States, and fromJulian Vigo (00:03:19):Paris 8,Julian Vigo (00:03:19):La Sorbonne, and Pau-Pyrénées, as well as the Maria Moors Cabot Prize for Journalism atJulian Vigo (00:03:27):Columbia University, New York, in 2004, and from the Universidad Complutense, Madrid, inJulian Vigo (00:03:32):2015.Julian Vigo (00:03:34):She received the French Legion of Honour at the rank of Officer, the Gabriela Mistral Prize from Chile, and inJulian Vigo (00:03:41):2006, the Courage Award from the International Women's Media Foundation.Julian Vigo (00:03:43):In 2013 she was awardedJulian Vigo (00:03:49):the Miguel de Cervantes Prize for literature in the Spanish language, and she received theJulian Vigo (00:03:55):Belisario Domínguez Medal in 2022.Julian Vigo (00:03:58):This is the highest honour granted by the Senate of the Mexican Republic, along with theJulian Vigo (00:04:05):Carlos Fuentes International Prize for Literary Creation in the Spanish Language in 2023.(00:04:12):I welcome Elena Poniatowska to Savage Minds.Julian Vigo (00:04:19):I wanted to begin with a memory I have of you.Julian Vigo (00:04:22):In 1993,Julian Vigo (00:04:25):I think,Julian Vigo (00:04:27):or 94 —Julian Vigo (00:04:28):one of those two years —Julian Vigo (00:04:29):I was in Puebla,Julian Vigo (00:04:31):Cholula,Julian Vigo (00:04:32):teaching at the Universidad de las Américas.Julian Vigo (00:04:35):Yes.Julian Vigo (00:04:36):And you came to give a talk at an observatory — I believe it was Tonantzintla.Elena Poniatowska (00:04:44):Yes, of course.Elena Poniatowska (00:04:46):Yes, I remember it, andJulian Vigo (00:04:49):you made a great impression on me that day. But I must confess that your entire life's work made a great impression on me — not only on me. I wanted to begin with your formation, your life, because you were born in France andJulian Vigo (00:05:12):how do you remember your childhood in France, and what elements of that world did you bring with you when you arrived in Mexico in 1942?Elena Poniatowska (00:05:21):Well, thank you very much for your interest.Elena Poniatowska (00:05:29):I can tell you that I was born in 1932 in Paris, France, because my mother Paula Amor marriedElena Poniatowska (00:05:42):Juan Poniatowski, who held a noble title — that of prince —Elena Poniatowska (00:05:54):because the last king of Poland was Stanisław Poniatowski, who was, I believe, one ofElena Poniatowska (00:06:07):the lovers —Elena Poniatowska (00:06:09):one of the younger lovers of the Empress of Russia, Catherine the Great.Elena Poniatowska (00:06:21):My mother was a woman born also in Paris, of Mexican origin, who leftElena Poniatowska (00:06:32):France because of the Mexican RevolutionElena Poniatowska (00:06:36):and went to live with her parents — Pablo Amor and Elena Iturbe de Amor — inElena Poniatowska (00:06:49):Biarritz, and they later moved to Paris. My mother always spoke Spanish with a French accent. She had two sisters who also lived in France for a long time,Elena Poniatowska (00:07:07):and they were rather Frenchified. She met my father Jean Poniatowski in Paris andElena Poniatowska (00:07:20):married him, and I was born in 1932 in Paris.Elena Poniatowska (00:07:25):I would like to knowJulian Vigo (00:07:31):more about this experience, because as you probably know — especially Americans and Canadians — they think everyone wants to come to their countries. But something they don't know until they travel is that in Mexico, Honduras, and all of Latin America there is a great deal of immigration, people from every country in the world. Why not?Elena Poniatowska (00:08:01):Her mother was in France; my mother was Mexican, born in France. Her family — she had a grandmother, my mother's great-grandmother, who was Russian, and in general her father was educated in England, so they wereElena Poniatowska (00:08:29):Mexicans — Amor is a Mexican surname — but they were very closely tied to Europe. For my mother, living in Europe was very natural becauseElena Poniatowska (00:08:49):she first attended a boarding school in Switzerland, in Lausanne,Elena Poniatowska (00:08:56):and then was in Paris. At a Rothschild ball she met my father JuanElena Poniatowska (00:09:07):Poniatowski and married him in 1931,Elena Poniatowska (00:09:17):or perhaps at the beginning of 1932, because I was born on the 19th of May 1932.Elena Poniatowska (00:09:29):My sister was born in 1933.Julian Vigo (00:09:34):As a child who spoke French and had to learn Spanish, in what way did language become your first tool for survival?Elena Poniatowska (00:09:47):Well, I also know English and French. Language, for me — learning Spanish in Mexico — was obviously about communicating with people in the streetElena Poniatowska (00:09:56):and with friends at school. But French remained my mother tongue, andElena Poniatowska (00:10:03):later I dedicated myself to speaking Spanish with the people at home, with the MexicansElena Poniatowska (00:10:14):I met at school.Elena Poniatowska (00:10:23):Curiously, I attended an English school called the Windsor School, but I learned SpanishJulian Vigo (00:10:38):in the street — one always learns Spanish better in the street. You learn so much from people in Mexico. I found people very warm and open. On the other hand, for Mexicans in my country, it's not the same at all.Julian Vigo (00:10:59):What was the first moment you felt that writing was the only possible way to understand the Mexico around you?Elena Poniatowska (00:11:11):Well, I would never say it was the only possible way.Elena Poniatowska (00:11:17):I think that at twenty,Elena Poniatowska (00:11:22):twenty-one years old, returning from studying at a convent of nuns, I had theElena Poniatowska (00:11:30):good fortune to be able to start writing at a newspaper called, at that time,Elena Poniatowska (00:11:42):Excelsior.Elena Poniatowska (00:11:43):They asked me to submit a daily article,Elena Poniatowska (00:11:48):an interview,Elena Poniatowska (00:11:51):a chronicle, and I did so with enormous enthusiasm and great pleasure, because it allowed meElena Poniatowska (00:12:00):to know Mexico much better, and also to meet great figures of Mexico such asElena Poniatowska (00:12:09):Diego Rivera,Elena Poniatowska (00:12:11):José Clemente Orozco, actresses like Dolores del Río and María Félix, architects likeElena Poniatowska (00:12:20):Luis Barragán, and writers — even writers of my own generation, or slightlyElena Poniatowska (00:12:31):older than me — such as Juan Rulfo,Elena Poniatowska (00:12:38):Rosario Castellanos, Carlos Fuentes, and of course Octavio Paz.Julian Vigo (00:12:46):What a rich life! María Félix — what a figure!Julian Vigo (00:12:52):How was your experience beginning in journalism in the early 1950s in a predominantly male environment?Elena Poniatowska (00:13:05):Well, I was truly very lucky, because people were very kind andElena Poniatowska (00:13:14):even affectionate towards me. No one ever refused me an interview. I was able to reach Alfonso Reyes, Octavio Paz,Elena Poniatowska (00:13:25):the great architect Luis Barragán, José Vasconcelos the philosopher, and all were veryElena Poniatowska (00:13:40):kind and cordial with me, as were important actors like Ignacio LópezElena Poniatowska (00:13:51):Tarso,Elena Poniatowska (00:13:52):and of course those I already mentioned — Dolores del Río, María Félix — and singers, and also many visitors who came from Europe, the United States, or Latin America to perform in Mexico.Elena Poniatowska (00:14:20):Did you know El Indio Fernández?Elena Poniatowska (00:14:23):Yes,Elena Poniatowska (00:14:24):of course —Elena Poniatowska (00:14:25):I interviewed him,Elena Poniatowska (00:14:26):I knew El Indio Fernández, who by ten in the morning was already offering me a tequila, whichElena Poniatowska (00:14:35):I did not drink, as I'm not accustomed to drinking. And also many otherElena Poniatowska (00:14:47):famous actors of that era, like the comedian Cantinflas, whoseJulian Vigo (00:14:56):real name was Mario Moreno. Cantinflas — I know his work. Wow. And you were in Mexico during the same period as Luis Buñuel?Elena Poniatowska (00:15:06):Yes, I ended up with Luis Buñuel — yes, we had a great friendshipElena Poniatowska (00:15:15):because out of affection he came to have lunch at my house several times, so I saw him on manyElena Poniatowska (00:15:24):occasions. We even went together to the prison of Lecumberri to visit, for example, aElena Poniatowska (00:15:33):Colombian who had committed an offence and was imprisoned — his name wasElena Poniatowska (00:15:42):Álvaro Mutis.Julian Vigo (00:15:45):And you have lived through and narrated great social transformations.Julian Vigo (00:15:51):Do you think that today's digital democratisation of public opinion helps social justice, or does it rather dilute real struggles into mere narratives of identity and likes?Elena Poniatowska (00:16:08):Well, I think the Mexican Revolution,Elena Poniatowska (00:16:15):led by a man like Emiliano Zapata, was extraordinary in redistributing the lands and haciendas of Mexico and in giving all MexicansElena Poniatowska (00:16:32):access to better education, better formation, a better life. I consider thatElena Poniatowska (00:16:46):Emiliano Zapata was one of the great heroes of Mexico, even though he personally took away the haciendas of my grandparents, the Amors and the Iturbes.Julian Vigo (00:17:06):What did you learn from the great intellectuals of your youth?Julian Vigo (00:17:08):You mentioned Juan Rulfo, Alfonso Reyes, and many others.Julian Vigo (00:17:15):What influenced your decision to dedicate your life to letters?Elena Poniatowska (00:17:20):No, they did not influence my decision to dedicate myself to letters.Elena Poniatowska (00:17:26):I met them later.Elena Poniatowska (00:17:30):I began as a journalist, a modest journalist, at the newspaper Excelsior in 1953 —Elena Poniatowska (00:17:42):I think 1952 or 1953. Very young. I had come from an education at a convent of nuns inElena Poniatowska (00:17:53):Philadelphia, and I decidedElena Poniatowska (00:17:57):to write chronicles and interviews to get to know Mexico better. I came to know those figures through my work as a journalist, and because I could question themElena Poniatowska (00:18:14):in the language I knew and had learned as a child — at ten years old — which is Spanish. My other languages until then had beenElena Poniatowska (00:18:22):English,Elena Poniatowska (00:18:27):and French, which is my mother tongue.Julian Vigo (00:18:32):You are known for the testimonio.Julian Vigo (00:18:36):At what exact point did you feel that traditional fiction was not sufficient to capture Mexican reality?Elena Poniatowska (00:18:47):As I mentioned, I began by engaging with many valuable MexicansElena Poniatowska (00:18:54):who received me in their homes, gave me their opinions. At the same time as I received what they wished to give me,Elena Poniatowska (00:19:04):I observed how their homes were, how they treated the people around them — their wives, their children, their servants — and all of that helped meElena Poniatowska (00:19:22):to know Mexico better. I also spent a great deal of time in the streets — that is, with the poorest people, whom I was able to reachElena Poniatowska (00:19:34):through my own nature and also with the help of a great Mexican illustrator, Alberto Beltrán. In the street he made sketches of everything the Mexicans did — the newspaper vendors,Elena Poniatowska (00:19:59):the taco sellers,Elena Poniatowska (00:20:03):the women making corn tortillas by hand,Elena Poniatowska (00:20:12):the bakeries, and then the hardware stores where everything was sold — from nails toElena Poniatowska (00:20:22):cleaning cloths — and all of that was a very vital andElena Poniatowska (00:20:32):generous apprenticeship in learning to see the lives of working Mexicans.Julian Vigo (00:20:40):But it is an art — to be able to listen to people, to their voices.Julian Vigo (00:20:53):How did you learn to listen to the voice of the other?Elena Poniatowska (00:20:58):Well, I think it is a natural inclination.Elena Poniatowska (00:21:03):It is not learned.Elena Poniatowska (00:21:05):It is not forced.Elena Poniatowska (00:21:06):It is a way of being.Elena Poniatowska (00:21:10):I am far more interestedElena Poniatowska (00:21:11):in speaking of what others do, how they do it, and who they are, than in speaking of myself, my sensations, my emotions. And I have done this from a very young age, so it has become a habit — it is part of my daily life.Julian Vigo (00:21:36):Do you believe that the testimonio is essentially an act of political resistance?Elena Poniatowska (00:21:44):I think so.Elena Poniatowska (00:21:45):It helps enormously to know the thinking of those who have no power, who are not in power, who do not consider themselves political, who are not leaders — although I did have the great privilege of interviewing leaders and very important figures in Mexico,Elena Poniatowska (00:22:14):such as, for example, the Spanish refugee of the Civil War, Luis Buñuel.Julian Vigo (00:22:26):And how was the process of gathering the voice of Jesusa Palancares?Julian Vigo (00:22:32):How long did it take you to absorb her story?Elena Poniatowska (00:22:38):Well, it was a privilege. I heard her — she was doing laundry in a popular building, a building where many Mexicans lived who had noElena Poniatowska (00:22:56):economic resources. Everything she said caught my attention enormously. I approached her and asked if I could visit her at her home,Elena Poniatowska (00:23:13):which was a very poor house, obviously far from the area where I lived. And so I went toElena Poniatowska (00:23:26):see her once a week. We became friends, and she began telling me her life. And that is howElena Poniatowska (00:23:36):the novel Hasta No Verte Jesús Mío came about. When it was published,Elena Poniatowska (00:23:43):she asked me to give her ten copies to give to her friends —Elena Poniatowska (00:23:52):the bricklayers or the people she had worked with.Julian Vigo (00:24:00):And why did she choose the testimonial genre for Hasta No Verte Jesús Mío?Julian Vigo (00:24:09):It is one of the testimonial novels because —Elena Poniatowska (00:24:16):She didn't really choose it — she didn't. It was I who gathered her words andElena Poniatowska (00:24:27):assembled them in the best way I could. But she did not choose it.Elena Poniatowska (00:24:34):She could not read or write. She did not know how to read or write. But she asked for the books, and I — the cover of the book, what goes on the outside, is the Santo Niño de Atocha, a small Christ child that she liked.Julian Vigo (00:25:08):And I saw it in the street, and so I put it there so she would be happy. But I was asking you about the testimonial genre — in 1969 it was not a common thing in literature.Julian Vigo (00:25:26):How was this novel received?Julian Vigo (00:25:30):I wonder if people were confused.Julian Vigo (00:25:32):Is it a true story or is it fiction?Elena Poniatowska (00:25:35):No, it was very well received. The book was greatly liked.Elena Poniatowska (00:25:41):Immediately many editions came out and it was translated into English and French.Julian Vigo (00:25:51):And I wonder if at that time — less so today — people were confused because they did not know if it was a completely real story or partly real. Because the novel Hasta No Verte Jesús Mío was categorised as a novel.Elena Poniatowska (00:26:16):Yes, that's right, that is what it was.Elena Poniatowska (00:26:19):It is a novel based on a character — a woman who was in the Mexican Revolution, the life of a soldadera. To what extent is Jesusa an invented character or a real woman? I have said it, I have written it many times: Jesusa is a real character. After that I wroteElena Poniatowska (00:26:49):other books about other women who were also real characters. I had the joy of knowing Jesusa in person, but for example Tina Modotti, the main character ofElena Poniatowska (00:27:08):the novel Tinísima, I did not know. And other novels about other women and other characters I also did not know.Julian Vigo (00:27:22):What lessons about the resilience of Mexican women did you learn from Jesusa that remain relevant today?Elena Poniatowska (00:27:31):All the women in Mexico whom I see and engage with and encounter in the streetElena Poniatowska (00:27:41):and who come to my house — they are women who have known how to struggle and continue to struggle. For example, one woman, Rosario Ibarra de Piedra, whose son was disappeared, and who searched all of Mexico — she is obviously one of the heroines who has most caught my attention.Julian Vigo (00:28:10):And especially in recent years — almost thirty years — the femicides and the disappearances of men and women. You are still fighting for your society, and I think literary words have the power to carry reality forward. I am thinking of La Noche de Tlatelolco — that was the first book of yours I read. It is incredible. I have no words. Thank you. It is one of the best books of the twentieth century, and I teach it. It is astonishing. Can you speak about why you began that work, and also for those listening now who do not know the history of what happened in Mexico?Elena Poniatowska (00:29:03):Well, in general I can tell you that I received letters from a prisoner in the jail — Jesús Sánchez García — and I began going to Lecumberri, which was called the Black Palace of Lecumberri. It was no palace — it was a prison with bars and cells. I asked permission from the prison director — I believe his name was Martín del Campo — and he gave it to me. That is how I went to gather life stories from men, and later, at the women's prison, from women who had nothing to do with my own life, who bore no resemblance to what I hadElena Poniatowska (00:30:03):lived or what I would go on to live.Elena Poniatowska (00:30:16):That was an enormous enrichment for me, and a knowledge of an unknown Mexico that also helped me understand MexicoElena Poniatowska (00:30:31):— a Mexico to which I owe a great deal.Elena Poniatowska (00:30:35):I think that everything I am I owe to the voice, and to the gift of their voice, that the poorest Mexicans gave me — those I was able to approach over years and years,Elena Poniatowska (00:30:52):going to the prison and sometimes going to their own very poor homes, called vecindades, which were located in the very neighbourhoods where the prisons were.Julian Vigo (00:31:11):How did you manage the pain and trauma of the testimonies you heard while assembling the book?Elena Poniatowska (00:31:22):Pain is not managed. To manage something is to seek something. Pain is simply assumed and lived. So the pain is in the words written in the book.Julian Vigo (00:31:46):And why did you choose the technique of a collage of voices rather than a linear, chronological narrative for this book?Elena Poniatowska (00:31:57):I have many other books that speak even of personal stories — books that contain much of biography.Julian Vigo (00:32:13):Yes, but it is very interesting how you wove those narratives together in this book. It is very beautiful, in fact.Julian Vigo (00:32:24):Was there any moment during the writing of La Noche de Tlatelolco when you felt fear or censorship?Elena Poniatowska (00:32:33):Well, there was always the dread of entering terrain unknown to me.Elena Poniatowska (00:32:40):Ultimately, I was educated —Elena Poniatowska (00:32:45):I spent time in the United States at a convent to be educated, not to become a nun — it was called the Sacred Heart Convent.Elena Poniatowska (00:33:03):When I came out I was speaking English. My mother tongue is French. And when I left there, my strongest desire was truly to know Mexico — the country I had arrived in at the age of ten, but in which I had received an educationElena Poniatowska (00:33:30):in both English and French, not in Spanish.Julian Vigo (00:33:36):More than fifty years later, what impact do you think that book has on the collective memory of young Mexicans today?Elena Poniatowska (00:33:48):Well, I think that is a question that should be put to them.Elena Poniatowska (00:33:55):What I can say is that I have receivedElena Poniatowska (00:33:59):a great deal of affection from young people — many come to find me at my home, and I give lectures and talks with some frequency. Remember that I am already 94 years old and have lost the use of my left eye, which prevents me from seeing well. So within my limitations,Elena Poniatowska (00:34:27):I remain in contact with the people who want to see me, which for me produces great enthusiasm and which I experience as great support.Julian Vigo (00:34:42):The book you wrote is something very specific — evidently about Mexico — but it is still a book with which everyone can identify. If we look around today, where there are acts of political repression in almost every country in the world in one form or another — and I know your books are translated into many languages — I wonder whether the power of La Noche de Tlatelolco came from the form of the narration itself, not only from the fact that you confronted the government, the police, and justice. You narrated a story of the people seeking justice, yes, but literature itself was also seeking truth within its pages. There are wars everywhere, there is too much sadness. After the lockdown — which was less bad in Mexico than here in Italy — we are living through a very difficult moment. Do you sometimes think of this book as a model for dialogue, for collaboration, for moving forward together, the people united?Elena Poniatowska (00:36:09):Well, what I love about this book is that it has so many voices — many voices gathered from mothers of families, from children of political prisoners. For me it was a great learning experience to go to the prison in Mexico and see a world I did not know, to be accepted in that world, to go frequently to hear and gather the voices of political prisoners and of young people whoElena Poniatowska (00:36:52):didn't even have strong political ideas but were imprisoned because they had stolen something in a market. It meant entering a world I was completely unfamiliar with,Elena Poniatowska (00:37:13):to which I did not belong. And it was an enormous lesson — a very generous lesson — in how the lives of others can be. That is what I have dedicated myself to over many years, because I remain a journalist and continue writing about disasters such asElena Poniatowska (00:37:39):not only the massacre of the 2nd of October, but what the earthquake of 1985 meant for Mexico and the loss, for many Mexicans, of their families and their homes.Julian Vigo (00:37:59):Yes. You documented the earthquake of ‘85 — a moment when the Mexican government was completely paralysed and it was civil society that took control to rescue the city.Julian Vigo (00:38:15):Do you believe that peoples are still alone in the face of tragedy, or is that organic solidarity you described an invincible force?Elena Poniatowska (00:38:29):Yes,Elena Poniatowska (00:38:29):of course.Elena Poniatowska (00:38:30):I believe — that is why I believe in the invincible force of Mexicans, who help and support each other, who run to answer a cry for help. They are the ones who save themselves by saving others. I believe in that truth. It is a truth I lived, that I witnessed,Elena Poniatowska (00:38:57):and for me it is a lesson, a way of life.Julian Vigo (00:39:03):Does it reflect the structural abandonment of the seamstresses, the inhabitants, those who live in vecindades, and the poorest?Julian Vigo (00:39:13):How did you manage, in the midst of the chaos, the dust, and the mourning of those days, to earn the trust of people so that they would share their most painful and raw testimonies?Elena Poniatowska (00:39:30):Well, I have two physical advantages.Elena Poniatowska (00:39:32):I am small in stature. I frighten no one. No one is afraid of me. I can go anywhere. I am not someone who imposes anything at all, and I know how to listen. So by listening to others' voices, I gather them, I keep them, I memorise them,Elena Poniatowska (00:40:03):and then I put them on paper.Elena Poniatowska (00:40:06):That is the most solitary and difficult moment — writing about what happens to others,Elena Poniatowska (00:40:21):their sorrows,Elena Poniatowska (00:40:22):their joys,Elena Poniatowska (00:40:24):their defeats and also their triumphs —Elena Poniatowska (00:40:28):and making books and articles from them. Because I am also a journalist sinceElena Poniatowska (00:40:38):1953. I am now 94 years old.Julian Vigo (00:40:47):You're listening to Savage Minds.Julian Vigo (00:40:49):If you're enjoying the show, take a second to subscribe at savageminds.co.Julian Vigo (00:40:54):Feel free to comment below or drop us a line to share your thoughts.Julian Vigo (00:40:59):Support independent media today.Julian Vigo (00:41:01):Now, let's get back to it.Julian Vigo (00:41:15):Many consider that the earthquake of ‘85 not only brought down buildings but also toppled the myth of the Mexican State's absolute control — marking the true birth of modern citizenship in the country.Julian Vigo (00:41:33):From your perspective as a chronicler —Elena Poniatowska (00:41:40):I think Mexicans have always had enormous character and enormous capacity to defend themselvesElena Poniatowska (00:41:49):in spite of their own poverty, or in spite of the total absence of outside help.Elena Poniatowska (00:42:02):There was in Mexico a Mexican Revolution,Elena Poniatowska (00:42:08):a country conquered by very cruel conquerors, and yet the country has continued to forge ahead and has continued to demonstrate its bravery and courage in allElena Poniatowska (00:42:28):circumstances — one of which was, for example, the earthquake, in which the neighbours themselvesElena Poniatowska (00:42:37):helped each other before the State or the so-called government did anything.Elena Poniatowska (00:42:46):So I think it is a country with many very brave men, women, and children who save themselves, who know how to look after themselves.Elena Poniatowska (00:43:03):Of course there are people who don't know how to do it, and there are people who sometimes end upElena Poniatowska (00:43:12):in prison or in hospital. But in general Mexico is a country of very solidary people, people who help each other and defend themselves.Julian Vigo (00:43:31):What I love about your books in general is that you give voice — you shed light on the lives that are forgotten.Julian Vigo (00:43:42):Do you feel that in this book, for example, or in Nadie Me Verá Llorar, the author's voice becomes more present or closer to her characters than in your earlier works?Elena Poniatowska (00:43:56):No,Elena Poniatowska (00:43:57):I think that element is present in all my works — in Hasta No Verte Jesús Mío, in the book about the 2nd of October, in the earthquake — and it is always present in everything I still do at the newspaper where I work. I am in a certain way a chronicler and aElena Poniatowska (00:44:21):participant in the lives of other Mexicans.Julian Vigo (00:44:27):And I also notice that many of your works are about women — Tinísima, the life of Tina Modotti, a woman who lived so many lives in one. Leonora. And I wanted to ask — before we get to those books — about Querido Diego Te Abraza Quiela. Why did you choose that subject? Not only Diego Rivera but his first wife.Elena Poniatowska (00:44:59):I was moved to learn that in Paris, Angelina Beloff had gone to Mexico to seeElena Poniatowska (00:45:12):Diego Rivera, whom she had supported in Paris. He had lived with her and had livedElena Poniatowska (00:45:22):off her, because she was the one with a salary. He was a very young painter withoutElena Poniatowska (00:45:33):money, without resources. She helped him. And when she went to Mexico, she had also hadElena Poniatowska (00:45:42):the only male child that Diego Rivera ever had, who died of cold in Paris. And when she decided to go to Mexico — in a sense, to get to know the country of her lover — she decided to go to the Palacio de Bellas Artes because she knew that heElena Poniatowska (00:46:11):would be there. And he walked right past her — past the seat, one of those red velvet seats in the Palacio de Bellas Artes, called butacas, in which she was sitting — he walked past and did not even recognise her.Elena Poniatowska (00:46:40):That story struck me deeply, and that is why I decided to write the small book —Elena Poniatowska (00:46:55):it is not a very long book —Elena Poniatowska (00:46:58):called Querido Diego, Te Abraza Quiela.Julian Vigo (00:47:00):In Tinísima, what was it that drew you to the life of Tina Modotti?Elena Poniatowska (00:47:08):In reality it came from a request to make a film. The cinematographerElena Poniatowska (00:47:17):Gabriel Figueroa told me that a film was going to be made about Tina Modotti, the Italian woman who had been in Mexico. So I began interviewing all the people who had knownElena Poniatowska (00:47:38):Tina Modotti. And even when I was invited to France for a conference, I had theElena Poniatowska (00:47:47):opportunity to go to Udine in Italy to meet and get to know the siblings of Tina Modotti —Elena Poniatowska (00:48:00):to see them, interview them, speak with them.Elena Poniatowska (00:48:05):Then when I was told that the film about Tina Modotti in Mexico was no longer going to be made because there was no money, I — who had gone at my own expense to that conference in France and another writers' conference inElena Poniatowska (00:48:37):Italy — decided to launch into writing the novel called Tinísima, because I hadElena Poniatowska (00:48:48):interviewed many old communists whom I had gone to visitElena Poniatowska (00:48:56):in their various homes — generally very modest, very poor homes.Elena Poniatowska (00:49:03):I did not want to let them down, and so the novel Tinísima was published.Julian Vigo (00:49:10):And to what extent does Tina Modotti represent the struggle of the woman artist in the twentieth century?Elena Poniatowska (00:49:19):To the extent that she commits herself —Elena Poniatowska (00:49:23):she takes photographs of Mexico alongside Edward Weston, and then goes alongsideElena Poniatowska (00:49:33):Commander Carlos of the Fifth Regiment to Spain — she goes to the Spanish Civil War and becomes a nurse, caring evenElena Poniatowska (00:49:52):on the ground for the bodies that had fallen on the earth before taking them to the Red Cross — giving them first aid and dedicating herself to saving lives,Elena Poniatowska (00:50:08):or helping to save lives. I believe that many soldiers did not die thanks to the care of this womanElena Poniatowska (00:50:19):who was in the trench following the doctors.Julian Vigo (00:50:25):You have said that the writer must be a bridge.Julian Vigo (00:50:29):Between what worlds do you think it is most necessary to build bridges — or should we be breaking bridges today?Elena Poniatowska (00:50:38):No, I think one should never break a bridge, for anything.Elena Poniatowska (00:50:42):I think one mustElena Poniatowska (00:50:45):communicate — that the most important thing in the life of any human being is dialogue. Peoples too must dialogue with others in order to know each other. I think Mexico must have a dialogue with the United States, and that many Mexicans who have returned fromElena Poniatowska (00:51:09):the United States because TrumpElena Poniatowska (00:51:12):did not want to receive them, has rejected them — well, they nevertheless had, with another nation or with the inhabitants of another nation, knowledge and dialogue.Elena Poniatowska (00:51:28):And that I believe is what is called,Elena Poniatowska (00:51:34):within Catholicism if you like, or within any religion by whatever name it may be called — that is human fraternity. The otherElena Poniatowska (00:51:50):is the one who exists and who awaits you and whom you must help, because perhapsElena Poniatowska (00:51:58):one day you will need him to extend a hand to you.Julian Vigo (00:52:05):Trump is certainly a character, but I see the situation as too tragic for Americans — the United States, still my country — because the reality is that a large part of the Western world has absolutely no idea of the immense cultural, intellectual, and spiritual richness of Mexico.Julian Vigo (00:52:30):For me, it's not only Trump —Julian Vigo (00:52:32):but Americans, Canadians, etc.Julian Vigo (00:52:35):know nothing about the sharpest chroniclers of this country. If you had to open the eyes of an international audience completely unaware of Mexico's depth, what would you say is the most valuable treasure of Mexican identity that the rest of the world is missing?Elena Poniatowska (00:53:01):Well, I must say that many North Americans have come and written about Mexico — anthropologists and sociologists. We have Oscar LewisElena Poniatowska (00:53:17):and many others who have written about the poorest Mexicans, starting in Tepoztlán, a city near Mexico City, following them to the vecindades in the city where they took refuge and found very modest work. So yes, there have been North AmericansElena Poniatowska (00:53:44):who have written about the richness and beauty of Mexico, and their books areElena Poniatowska (00:53:53):translated into Spanish and are admired and appreciated by Mexicans who are grateful that attention is paid to them. So one cannot say that no one who has come from outside has cared about Mexico — in archaeology, in anthropology, as well as figures like Frances Toor, who was a North American woman who created a magazineElena Poniatowska (00:54:39):called Mexico Today and wrote extensively about Mexican customs and lived in Taxco.Elena Poniatowska (00:54:41):For example, a certain William Spratling enriched himself personally but helped many Mexicans inElena Poniatowska (00:54:51):Taxco to learn how to work silver and sell silver. And still today many foreigners and tourists go to buy silver objectsElena Poniatowska (00:55:10):that come from a mine discovered by foreigners — and clearly alsoElena Poniatowska (00:55:20):plundered, one might say, by foreigners.Julian Vigo (00:55:30):Because not everything is entirely good or entirely bad. But I was referring to the fact that — as you know, having been in the United States and many other countries — Trump and far too many people insufficiently educated about Mexico think that all Mexicans want to invade the United States. But the reality is otherwise. In Mexico there was a great cinematic tradition, for example. Mexican cinema has greatly influenced Hollywood — not only today but throughout history. The Oscar statuette itself was modelled on the body of El Indio Fernández. People do not know the depth of Mexican philosophy. I am thinking of Sor Juana, who contributed so much to poetry, theatre, even science — if we think of her letter to Sor Filotea, who was actually Manuel Fernández de Puebla. That dialogue was very important. Western feminists know nothing of these exchanges between those two figures. But for me Mexico has an enormous and very important force in the history of philosophy, science, and feminism. And I am thinking of Octavio Paz's book on Sor Juana Inés de la Cruz, called Sor Juana Inés de la Cruz, or The Traps of Faith. You knew Paz closely. Did you have conversations with him about his perspective on this book — especially regarding the power dynamics of the Church and the silencing she suffered as an intellectual woman?Elena Poniatowska (00:58:09):No, but I think you are mixing very many topics into one question, and it isElena Poniatowska (00:58:18):difficult to answer you because you are speaking of very diverse things that evenElena Poniatowska (00:58:27):happened in different centuries.Elena Poniatowska (00:58:30):Sor Juana — there have always been in Mexico,Elena Poniatowska (00:58:34):before Octavio Paz, people who dedicated themselves to reading,Elena Poniatowska (00:58:40):studying, and getting to know Sor Juana Inés de la Cruz.Elena Poniatowska (00:58:45):I will not add more names to those you mentioned, but there are many studies and many Sor Juana scholars in Mexico, as well as at the University of SantaElena Poniatowska (00:59:01):Barbara, California, in Paris, in France —Elena Poniatowska (00:59:04):there are many studies on the great figures of Mexico — not only The Traps of Faith by the Mexican poet Octavio Paz. So these are studies that will continue and do continue. In California, for example, Sara Poot HerreraElena Poniatowska (00:59:32):is dedicated to studying Sor Juana Inés de la Cruz, along with many other scholars — I don't know if she is still living — whose name was Rivers. All of these are studies that have been carried out in Mexico and outside Mexico.Julian Vigo (00:59:55):No, I was asking specifically about Paz's book because you knew him and —Elena Poniatowska (01:00:03):I knew him,Elena Poniatowska (01:00:04):I admired him, and I also wrote about him. I have a book about him. I admired him,Elena Poniatowska (01:00:12):I knew him, his poetry dazzled me. And he is a man whom I have admired since getting to know him, and whom I also hold with affection.Julian Vigo (01:00:29):I asked about your relationship with him because sometimes it happens to me too — with other writers — one asks or someone asks me, “Why did you do that?” It is a dialogue. Because that book, The Traps of Faith, had something very important — not only for Mexico but it placed the image of Sor Juana before the world. Many people began to ask who this nun was because it is very important. I was asking about the presentation Paz gave of her — whether you had any dialogues with Paz from your own perspective.Elena Poniatowska (01:01:20):Well, yes, of course. But there were others who also spoke at great length about Sor Juana de la Cruz — other Mexicans before Octavio Paz, other Mexicans who, for example, also concerned themselves with indigenous peoples, such as a priest — Ángel María Garibay — who was also a Sor Juana scholar. So there are many studies on Sor Juana Inés de la Cruz and there are Sor Juana scholars in Santa Bárbara, for example, such as Doctor Sara Poot Herrera and others — a woman by the name of Rivers and many more.Julian Vigo (01:02:16):You have dedicated your life to listening and giving voice to those who have none, through the chronicle and literature.Julian Vigo (01:02:26):Today,Julian Vigo (01:02:27):with social media,Julian Vigo (01:02:28):it seems that everyone has a platform for opinions.Julian Vigo (01:02:32):But are we really listening?Julian Vigo (01:02:36):What happens to the power of the word when it becomes a constant noise, as in social media?Elena Poniatowska (01:02:45):I don't know.Elena Poniatowska (01:02:46):I suppose it loses efficacy.Elena Poniatowska (01:02:49):But that depends on the activity of each human being.Elena Poniatowska (01:02:58):There are people — elderly people, for example, people already old — for whom life,Elena Poniatowska (01:03:08):even in institutions, in care homes, means turning the television on from morning until night and being entertained — that is, entertained without making the least effort of criticism or thought in front ofElena Poniatowska (01:03:29):the television.Elena Poniatowska (01:03:31):I have seen that this has been very important in keeping the elderly calm andElena Poniatowska (01:03:41):allowing them to die little by little in institutions called health facilities, where they have thisElena Poniatowska (01:03:52):constant and rather sad entertainment. ButElena Poniatowska (01:03:59):as they say in Mexico: no hay de otra — there is no other option, or no other option has been found, or there are not enough people willing to dedicate themselves to attending to and caring for others. So I see it as an end of lifeElena Poniatowska (01:04:28):for an individual who was once a thinking individual, who knew how to act,Elena Poniatowska (01:04:37):who knew how to elevate himself,Elena Poniatowska (01:04:41):to become a better human being. And I find it sad.Julian Vigo (01:04:46):Today, and for twenty years now, I have noticed as a university professor that students are reading less and less. Today, with so-called artificial intelligence — so-called because intelligence it is not — students are not reading. How can literature or journalism restore the true value and depth of words when we are in a world full of social media, opinions, and videos of a cat doing something funny?Elena Poniatowska (01:05:31):Your question is very difficult because I don't have the answer.Elena Poniatowska (01:05:37):What I can say is that ultimately it depends on the teachers.Elena Poniatowska (01:05:44):It depends on students having a good teacher,Elena Poniatowska (01:05:49):because even I have seen in classes —Elena Poniatowska (01:05:54):in different classes —Elena Poniatowska (01:05:57):that many young people continue looking at their phones while the teacher is writing onElena Poniatowska (01:06:07):the board, or speaking, or giving a class.Elena Poniatowska (01:06:13):So we shall see whether the destiny of young people will depend on what theyElena Poniatowska (01:06:21):learn from their phone. I don't have a phone —Elena Poniatowska (01:06:27):I never bought one,Elena Poniatowska (01:06:28):never got one. Or whether they will be able to go beyond themselvesElena Poniatowska (01:06:37):and beyond above all what the phone wants to give you or teach you or not teach youElena Poniatowska (01:06:46):or distract you from — because ultimately it is a distraction. Yes.Julian Vigo (01:06:53):Writing something to share — in quotation marks — they are sharing nothing in the end. I have noticed that many people are sharing articles they have not read. Young people are embracing identity politics and cancel cultureJulian Vigo (01:07:16):in the absence of any engagement with material reality today.Julian Vigo (01:07:21):That is my fear —Julian Vigo (01:07:23):that the millennials,Julian Vigo (01:07:26):this generation of thirty-year-olds,Julian Vigo (01:07:31):are fixated on pronounsJulian Vigo (01:07:36):but do nothing to help their neighbour.Julian Vigo (01:07:41):They do nothing to fight for living wages.Elena Poniatowska (01:07:46):Well, not all of them.Elena Poniatowska (01:07:49):It's a generalisation, of course.Elena Poniatowska (01:07:54):But I think you are right.Elena Poniatowska (01:07:58):It is a generalisation, because in any case there are human beings who live for others.Julian Vigo (01:08:08):We are in two camps today, because during the lockdown I noticed that many people — even on the right — were fighting for the poor in the United States, where I published. I could not publish a single article questioning the lockdown. That is when I started Savage Minds, because I was asking: what is happening? I no longer recognise this world in which the left is pushing people not to speak. We weren't talking about the lockdown, and the right was speaking very openly. And I see that politically, left and right — there is no longer that dichotomy, so to speak.Elena Poniatowska (01:09:02):Yes,Elena Poniatowska (01:09:03):I thank you greatly for your interest and I thank you enormously for this conversation. I feel animated,Elena Poniatowska (01:09:11):I feel glad to hear what you are saying.Elena Poniatowska (01:09:19):But I do feel that,Elena Poniatowska (01:09:22):as you say,Elena Poniatowska (01:09:23):the speed,Elena Poniatowska (01:09:26):the pace of all events,Elena Poniatowska (01:09:29):the television —Elena Poniatowska (01:09:32):it sets critical thinking and reflection on events to one side,Elena Poniatowska (01:09:41):because everything must be immediate, mustn't it?Elena Poniatowska (01:09:46):That is to say, everything ends in a second. Even the deepest interests sometimes last onlyElena Poniatowska (01:09:56):a few — one might even think, as we say in Mexico,Elena Poniatowska (01:10:01):un ratito — just a little while. There is no continuity in ideas orElena Poniatowska (01:10:12):even in purposes. There is something we all know called habit, and each personElena Poniatowska (01:10:21):lives according to the habits they have established in order to keep going —Elena Poniatowska (01:10:28):to keep existing, if you will. To make it to night, fall asleep, and know that you will wake the following day. Or perhaps you won't wake, because — well, for example, IElena Poniatowska (01:10:45):am a person of 94 years old and I have no certainty that I will see the following morning. ButElena Poniatowska (01:10:55):what I do believe is thatElena Poniatowska (01:10:58):I believe in the innate goodness of every human being.Elena Poniatowska (01:11:03):I have to believe in it, because I need that hope.(01:12:02): Get full access to Savage Minds at www.savageminds.co/subscribe

“Los Caballeros de la Orden de Toledo” es la serie de tebeos creada por Javierre y Juanfran Cabrera, que narra las aventuras del grupo operativo formado por Federico García Lorca, Luis Buñuel y Salvador Dalí, al servicio de la Institución Libre de Enseñanza, durante los años de estancia en la Residencia de Estudiantes de Madrid. En el segundo arco argumental, es Javierre quien se ha encargado del guión y el dibujo, y ahora se publica, en versión digital, el episodio 9 que lleva por título “Abd El-Krim”, que fue el líder que encabezó la resistencia contra las administraciones coloniales de España y Francia en la guerra del Rif. Un personaje histórico que encaja perfectamente en la cronología de esta interesante ficción en viñetas.Escuchar audio

Sýrie, země mnoha bohů a mnoha svatých. Proč stál svatý Šimon na sloupu? A proč se jím inspiroval Luis Buňuel?

W nowym odcinku wideokastu „Kultura na weekend” Janusz Wróblewski i reżyser Marcin Borchardt, twórca takich dokumentów jak „Beksińscy. Album wideofoniczny” oraz „Tony Halik. Tu byłem”. Rozmawiamy o tym, jak powstaje film dokumentalny, który potrafi ożywić archiwum filmowe i zamienić je w uniwersalną opowieść o sztuce i wolności. Głównym tematem jest awangarda polska i jej najwybitniejsi przedstawiciele: Franciszka oraz Stefan Themerson, o których Marcin Borchardt nakręcił swój najnowszy film „Moi Themersonowie”. Reżyser analizuje ich nowo odnaleziony film eksperymentalny z lat 30. pt. „Europa”, stawiając ich w jednym rzędzie z takimi postaciami jak Salvador Dalí czy Luis Buñuel, autor przełomowego dzieła sztuki awangardowej „Pies andaluzyjski”. Dowiecie się, dlaczego malarstwo Franciszki Themerson jest dla gościa równie poruszające co prace, które stworzyli Lucian Freud i Francis Bacon, oraz jak wyglądało ich życie po drugiej wojnie światowej w Londynie i Paryżu. To tam prowadzili wydawnictwo Gaberbocchus Press, publikując takie tytuły jak „Król Ubu” czy „Wykład profesora Mmaa”, książka, o której sam Bertrand Russell pisał, że jest równie istotna co „1984” George'a Orwella czy „Nowy wspaniały świat” Aldousa Huxleya. W rozmowie poruszamy także wątki historyczne, takie jak II wojna światowa, modernizm w sztuce oraz emigracja Polaków. Marcin Borchardt zdradza, jak dziś, korzystając z nowych technologii, można na nowo interpretować polski film sprzed dekad. Na koniec pytamy, jakie są jego plany filmowe i dlaczego dokument to dla niego nieustanne odkrywanie nieznanego. Dowiesz się z tego odcinka: – Jak reżyser filmu „Moi Themersonowie” pracuje z archiwalną taśmą, by zamienić stare dokumenty w emocjonujące, nowoczesne kino? – Co sprawiło, że Bertrand Russell zachwycił się polską prozą i porównywał ją do najważniejszych antyutopii Orwella i Huxleya? – Czy polski eksperyment filmowy z lat 30. był bardziej rewolucyjny od zachodnich klasyków? Oś czasu: 00:00 – Najciekawsze fragmenty 00:09:26 – „Europa”: Filmy Themersonów na tle zachodniej awangardy 00:15:40 – Malarstwo Franciszki w zestawieniu z Baconem i Freudem 00:21:12 – Gaberbocchus Press i wydawanie „Króla Ubu” 00:31:00 – Jasia Reichardt: przewodniczka po Themersonach 00:45:50 – Co łączy Beksińskich, Halika i Themersonów?

Javier Espada dirige el documental 'Memoria de Los olvidados’, un proyecto que inició cuando la Unesco decidió designar a la película 'Los olvidados', de Luis Buñuel, de 1950, como Memoria del Mundo. Arturo Ripstein presta su voz en este documental en el que, entre otras aportaciones, se analiza por primera vez la importancia del pintor Goya en la concepción del film y donde intervienen investigadores, cineastas y escritores. Después de pasar por distintos festivales como el de Málaga, se ha estrenado este mes en México y se proyectará el 29 de abril en el Saraqusta Film Festival, el Festival Internacional de Zaragoza de Cine de Historia.Escuchar audio

Po motivih filma Luisa Buñuela Komedija Krstna uprizoritev Prevajalka in režiserka Nina Ramšak Marković Igrajo Bernarda Oman Primož Pirnat Tjaša Železnik Gašper Jarni Miranda Trnjanin k. g. Jure Rajšp k. g. Iva Krajnc Bagola Lotos V. Šparovec Jožef Ropoša Jaka Lah NAPOVED: Na velikem odru Mestnega gledališča ljubljanskega je bila sinoči krstno uprizorjena igra Buržoazija Milana Ramšaka Markovića v prevodu in režiji Nine Ramšak Marković. V podnapisu beremo, da gre za komedijo po motivih filma Luis Buñuela, kar pomeni, da je referenca film Diskretni šarm buržoazije tega režiserja iz leta 1972. Na sinočnji premieri je bila Tadeja Krečič.

El reportaje biográfico de esta semana está dedicado a Otto Preminger, uno  de los directores más versátiles y talentosos del cine clásico. También uno de los más coléricos y explosivos. En su haber películas como “Laura”, “Anatomía de un asesinato”, “Carmen Jones” o “Éxodo”. Hace 75 años Luis Buñuel ganaba el premio al mejor director en el festival de Cannes por su película mejicana “Los olvidados”. Aprovechando este aniversario le damos un repaso a este film que devolvió el prestigio internacional al director aragonés. Hablamos del gran Alfredo Landa a través de un documental sobre su figura que han dirigido Gracia Querejeta y Miguel Olid y en la sección de Jack Bourbon tenemos esta semana “Capitanes intrépidos” de Victor Fleming, una de las películas más hermosas y conmovedoras del cine clásico de aventuras, por la que Spencer Tracy ganó el Oscar al mejor actor.

Znacie ten typ filmu, który z każdą sceną wprowadza coraz większy zamęt? Luis Buñuel był twórcą, który szedł o krok dalej i skandal z filmu przekładał na skandal narodowy. A czasem nawet i światowy. Twórca, który udowodnił, że surrealizm to gatunek, w którym granice nie istnieją. O jego twórczości i dorobku posłuchajcie w rozmowie Anny Rakoczy z Piotrem Czerkawskim w ramach audycji ,,El ritmo que nos une".

Nachdem die feine Gesellschaft in der Oper war, werden sie vom Ehepaar Nobile noch zu einem gemütlichen Beisammensein eingeladen. Auch dass die Bediensteten nach und nach das Anwesen der Nobiles verlassen, kann die Feierlaune nicht trüben: Man unterhält sich, man speist und trinkt, man lauscht einem Klavierstück der hoffnungsvollen Nachwuchspianistin. Und dann wäre es eigentlich Zeit aufzubrechen… Nur das mag niemandem so recht gelingen. Die Festgesellschaft bleibt einfach im Salon, verbringt dort sogar - gegen alle gesellschaftlichen Konventionen - die Nacht. Und dann dämmert es den Leuten so langsam: Sie sind eingeschlossen, können den Salon nicht verlassen. Warum weiß keiner. Aber der Weg sowohl zur Außenwelt als auch den anderen Räumen des Hauses ist wie durch eine magische Barriere verschlossen. Man diskutiert darüber, woran es liegen könnte, versucht sich einzurichten, schmiedet Fluchtpläne… Schließlich macht sich Verzweiflung breit, Misstrauen, die tierischen Instinkte kommen hervor, während die Aussicht auf Rettung immer weiter schwindet. Luis Buñuel, zusammen mit Salvador Dali und dem andalusischen Hund 1929 der Vater des surrealistischen Kinos. Er sollte noch Filme drehen, lange nachdem die Bewegung erloschen war: In Spanien, Frankreich und nach dem zweiten Weltkrieg vor allem in Mexiko. In seinem letzten mexikanischen Film “Der Würgeengel” entwirft er die klaustrophobische Parabel eines Bürgertums, das auf sich selbst zurückgeworfen wird: Mit schrägen Repetionen, surrealen Einwürfen und viel Symbolismus. Johannes, sind die Hölle die Anderen?

Viridiana, la herencia de Buñuel y la restauración 4K A finales de 2025 Criterion Channel anunció que en el mes de marzo de 2026 iban a publicar una versión restaurada en 4K de Viridiana de Luis Buñuel, una de las mejores películas en la historia de la humanidad, premiada con la Palma de Oro en el Festival de Cannes en 1961. Con ese pretexto, este podcast Cinegarage está dedicado a Viridiana, la película, a las ideas de Buñuel alrededor de ella, al legado del propio director y a resaltar la importancia de que una mente tan lúcida y rebelde como la de don Luis se haya decidido a contar esta historia de la manera como lo hizo. Por eso es que invitamos a este episodio a Gabriela Román Mérida, profesora, investigadora del cine mexicano y amiga de Cinegarage. Exploremos los distintos universos dentro de Viridiana, de Luis Buñuel. Learn more about your ad choices. Visit megaphone.fm/adchoices

La oscense Yasmina Praderas está a un paso de hacer historia en el cine internacional. Este domingo puede recibir el Oscar por su trabajo como mezcladora de sonido en la película Sirāt, dirigida por Oliver Laxe, convirtiendo a su equipo en el primer equipo íntegramente femenino que logra una nominación en esta categoría. Praderas podría convertirse este domingo en la segunda aragonesa en conseguir una estatuilla, más de cincuenta años después de Luis Buñuel.

Episode 212 of Secret Movie Club dives into the life and work of Luis Buñuel, tracing his surrealist beginnings with Un Chien Andalou and L'Age d'Or, his powerful Mexican period (Los Olvidados, The Exterminating Angel), and his later French masterpieces (Belle de Jour, The Discreet Charm of the Bourgeoisie, That Obscure Object of Desire). Founder and programmer of Secret Movie Club, Craig Hammill, shares biographical context, thematic through-lines—religion, class, dream logic and satire—and personal memories of discovering Buñuel, while recommending key films to watch for newcomers and longtime fans alike.

durée : 00:57:50 - Certains l'aiment Fip - À l'occasion de la sortie de "Rue Málaga" de Maryam Touzani, nous rencontrons l'égérie de Pedro Almodovar qui a joué pour Luis Buñuel, Francis Ford Coppola, Carlos Saura, Roger Planchon, Jean-Pierre Mocky ou Amos Gitaï . Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Abrimos nuestra Radioteca con Juan Carlos Soriano, que nos trae algunos de los testimonios más curiosos del Archivo Sonoro de Radio Nacional. Ese sótano de la Casa de la Radio que, además de historia, guarda también unos cuantos misterios.¿Sabían que conservamos una versión radiofónica de El Quijote en la que participó un español de fama universal… pero cuyo nombre permaneció oculto durante 24 años? No fue tanto un caso de censura como de autocensura. Quienes grabaron aquella adaptación, que este verano cumplirá 60 años, temieron la reacción que podría provocar en las altas esferas del Régimen. Porque ese español tan célebre, que entonces vivía en América, era casi una persona non grata en la España de la época.Como el gran público no conocía su voz, el programa se emitió sin mencionar su identidad. Hubo que esperar un cuarto de siglo, hasta 1990, para que el realizador Domingo Almendros revelara finalmente el nombre del actor oculto: Luis Buñuel.Escuchar audio

Oggi insieme a Doriana Bruccoleri (dottoranda in Cultura Visuale) esploriamo il mondo di Wuthering Heights (di Emily Brontë, edito nel 1847): il romanzo, gli adattamenti, da William Wyler a Emerald Fennell passando da Luis Buñuel, Yoshihige Yoshida, Andrea Arnold e Jacques Rivette.Ci scusiamo per l'audio: c'è stato un problema con la traccia del microfono e abbiamo deciso di usare l'audio del computer.Film: Wuthering Heights, William Wyler (1939)Wuthering Heights, Luis Buñuel (1954)Wuthering Heights, Jacques Rivette (1985)Wuthering Heights, Yoshishige Yoshida (1988)Wuthering Heights, Andrea Arnold (2011)Wuthering Heights, Emerald Fennell (2026)Il nostro canale Telegram per rimanere sempre aggiornati e comunicare direttamente con noi: https://t.me/SalottoMonogatariSpotify: https://open.spotify.com/show/2QtzE9ur6O1qE3XbuqOix0?si=mAN-0CahRl27M5QyxLg4cwApple Podcasts: https://podcasts.apple.com/it/podcast/salotto-monogatari/id1503331981Google Podcasts: https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xNmM1ZjZiNC9wb2RjYXN0L3Jzcw==Logo creato da:Massimo ValentiSigla e post-produzione a cura di:Alessandro Valenti / Simone MalaspinaPer il jingle della sigla si ringraziano:Alessandro Corti e Gianluca NardoPer la gestione dei canali social si ringrazia:Selene Grifò

Pocas veces nuestro crítico de 'Vida y Cine' califica a una película como ha hecho con la adaptación de "Cumbres Borrascosas" de Emerald Fennell. Una pelicula "abominable, infame y tremendamente hortera" que según Ocaña solo se puede ver si te interesa "Jacob Elordi sacando la lengua todo el rato cuando besa". Además de repasar las otras Cumbres Borrascosas que si hacen justicia a la novela de Emily Brontë (La de William Wyler, andrea Arnold y el 'Abismo de pasiones' de Luis Buñuel), Ocaña nos ha hablado de "No hay otra opción", del director coreano Park Chan Wook, una película que también nace de un libro - "El hacha", de Donald E. Westlake - que consigue una adaptación desde el cine de género. "Se acerca al drama del paro con el bisturí que analiza la depresión personal, con la gracia cruel de la comedia negra, con la ampulosidad del melodrama y con la garra del thriller", señala Ocaña.

What do Inception, Tim Robinson, Luis Buñuel, Woody Allen, and Chantal Akerman have in common? They all get compared to Hong Sang-soo's On the Beach at Night Alone in this episode of Deep Cut! Listen on as we unpack the movie that's loosely about Hong's and Kim Min-hee's career-changing relationship, digest more awkward dinner scenes, and discuss the merits of going to the beach in the winter.Links:Scold your friends for being inauthentic at our FREE patreon, discord server, and our socials @ www.deepcutpod.com Timestamps:00:00 Intro02:31 General reactions08:00 Context / Hong+Kim relationship14:32 SG public opinion survey18:04 Hong Sang-soo's 'Inception'20:08 Hong Sang-soo / Tim Robinson21:43 Hong / Buñuel25:45 Hong not planning era27:17 Ryan Swen Notarized and dinner scene33:16 What to do with this movie?38:13 Hong's Chantal Akerman41:10 Hong as Woody Allen

Send us a textIn today's episode, I interview Alex Thompson, director of the short film "Em & Selma Go Griffin Hunting," the story of a mother and daughter faced with difficult choices as they take part in a coming-of-age hunt set in a fictional 1930s America.Listen to hear about how Alex's world building for the film began with the characters, the process of casting the main characters of the film to ensure they had the right level of humanity for the story, and the challenge of creating a set of digital creatures to inhabit the world that would look like high quality blockbuster effects on a small short film budget.Books mentioned in this episode include:Aesop's FablesGrimm's Fairy TalesThe Great Mother: An Analysis of the Archetype by Erich NeumannBaudolino by Umberto EcoThe Name of the Rose by Umberto EcoSapiens: A Brief History of Humankind by Yuval Noah HarariFilms and TV shows mentioned in this episode include:"Em & Selma Go Griffin Hunting" directed by Alex ThompsonJurassic Park directed by Steven SpielbergHereditary directed by Ari AsterThe Walking Dead (series)The Grapes of Wrath directed by John Ford"La jetée" directed by Chris Marker12 Monkeys directed by Terry Gilliam"Un Chien Andalou" directed by Luis Buñuel"An Occurrence at Owl Creek Bridge" directed by Robert EnricoAvatar directed by James CameronBlade Runner directed by Ridley Scott2001: A Space Odyssey directed by Stanley KubrickEverything Everywhere All at Once directed by Dan Kwan and Daniel ScheinertNight of the Hunter directed by Charles LaughtonCome and See directed by Elem KlimovThe Passion of Joan of Arc directed by Carl Th. DreyerThe Seventh Seal directed by Ingmar BergmanApocalypse Now directed by Francis Ford CoppolaThe Cabinet of Dr. Caligari directed by Robert Wiene12 Angry Men directed by Sidney LumetPoor Things directed by Yorgos LanthimosThe Thin Red Line directed by Terrence MalickFollow the film on Instagram @emandselmagogriffinhunting and Alex @alexanderthompsonfilms.Support the show

Comenzaremos nuestro repaso a la actualidad discutiendo un nuevo documento de Estrategia Nacional de Seguridad publicado la semana pasada. Comentaremos los aspectos del documento que afectan directamente a Europa, así como la predicción de un "borrado" de la civilización europea. Continuaremos hablando de la clasificación anual de 36 economías desarrolladas en base a la inflación, el crecimiento del PIB, el empleo y la progresión del mercado bursátil. La sección de ciencia estará dedicada a un estudio que identificó cinco periodos del desarrollo del cerebro humano. El estudio sugiere la existencia de cuatro puntos de inflexión cruciales a los 9, 32, 66 y 83 años de edad, que marcan cambios significativos en la organización neuronal. Y la última noticia de actualidad tratará sobre Pantone, que dio a conocer su Color del Año 2026. ¿Puede la elección de un Color del Año ser polémica? El resto del episodio de hoy lo dedicaremos a la lengua y la cultura españolas. La primera conversación incluirá ejemplos del tema de gramática de la semana, el tiempo verbal Present Perfect - Part III. En esta conversación hablaremos del mercado laboral en España. La sociedad española ha cambiado mucho. En los años 70, el objetivo de cualquier persona era trabajar en la misma empresa hasta la jubilación. Hoy en día, ¡la prioridad es muy distinta! Y, en nuestra última conversación, aprenderemos a usar una nueva expresión española, Lavarse las manos. La usaremos para hablar del cineasta español, Luis Buñuel. Especialmente recordaremos una de sus más famosas películas: El ángel exterminador. Esta película ha sido considerada por el New York Times como una de las mejores 1000 películas de toda la historia del cine. La Estrategia de Seguridad Nacional 2025 de EE. UU. advierte del fin de Europa Portugal, coronado como la economía del año 2025 Los científicos descubren cinco períodos distintos de desarrollo cerebral Cloud Dancer, una tonalidad del blanco, escogido color del año El mercado laboral en España Una de las mil mejores películas de la historia del cine

Aquí, en este Idioma sin fronteras, la palabra diccionario, en cualquiera de sus formas, cautiva nuestra atención. El diccionario que nos va a ocupa nos trasporta al mundo del cine, en concreto, al universo de Luis Buñuel. Es el estudio más completo publicado sobre la vida y la obra del director de Calanda, a través de sus palabras, 500 definiciones elaboradas por el catedrático de la Pompeu Fabra, Jordi Xifra, y por el experto en todo Buñuel, Manuel Fructuoso. El diccionario está editado por Prensas de la Universidad de Zaragoza, en colaboración con el Centro Buñuel de Calanda y el Gobierno de Aragón. Escuchar audio

In what might be a first, Dean will offer up both a point and a counterpoint (all on his own) about the merits and deficits of Charles Laughton's The Night of the Hunter. Then, Phil will discuss the long career of the great cinematic surrealist Luis Buñuel and take a deep dive into one particular […]

Original Release Date: Monday 27 October 2025    Description:   In what might be a first, Dean will offer up both a point and a counterpoint (all on his own) about the merits and deficits of Charles Laughton's The Night of the Hunter. Then, Phil will discuss the long career of the great cinematic surrealist Luis Buñuel and take a deep dive into one particular masterpiece of his, the 1950 Los Olividados ("The Young and the Damned"). Buñuel's famous collaborations with Catherine Deneuve will lead Phil and Dean to discuss this legendary star's almost unparalleled status as the "face" of 1960s cinema. Jacque Demy's singular The Umbrellas of Cherbourg gets celebrated as a result. If Ms. Deneuve was NOT the face of global cinema at that time, then that title belonged to the late, great Claudia Cardinale, who gets remembered in "Celebrity Deaths".

Narodila se 22. října 1943 v Paříži a její ledová krása fascinuje publikum od roku 1968, kdy se její portrét objevil na titulní straně časopisu Newsweek. Patří mezi největší světové filmové hvězdy, navrhuje ale i módní doplňky od brýlí, přes boty až po šperky. Spolupracovala s vynikajícimi režiséry jako Roman Polanski nebo Luis Buñuel a hereckými partnery jako Depardieu, Delon nebo Mastroianni. Vydala jedinečnou knihu pamětí Ve vlastním stínu a její podobu má socha Marianne.

One of the most revered and prolific British classical musicians, Thomas Adès made his name with his 1995 opera Powder Her Face, written when he was just 24 years old. His orchestral composition Asyla was nominated for the Mercury Prize for album of the year in 1999. Recordings of his opera The Tempest and, more recently, his score for the ballet The Dante Project have both won Grammy Awards. His ten symphonic works, three operas and numerous chamber pieces are performed all round the world. In 2024 Adès was presented with the Royal Philharmonic Society's prestigious Gold Medal, previous recipients of which include Stravinsky, Brahms and Elgar.Thomas Adès talks to John Wilson about the influence of his family, including his art historian mother who is an expert in surrealism. Through her he was introduced to the surrealist artists, the films of Luis Buñuel and met the painter Francis Bacon. His grandmother introduced him to the work of T.S. Eliot as read by Sir Alec Guinness on a cassette recording, and it was some of these poems that he was to eventually set to music for his first ever composition. Adès also recalls getting to the semi-finals of the BBC's Young Musician of the Year in 1990, a watershed moment for him as it prompted him to pursue music as a composer rather than a pianist. He also cites going regularly to the English National Opera as a formative influence and talks about writing his own operas including Powder Her Face about the Duchess of Argyll, and The Exterminating Angel, based on the film by Luis Buñuel.Producer: Edwina Pitman

To mark International Forbidden Desires Week (inaugural, and declared by us), Bryce drops in to discuss two films that feel worlds apart, even if they're both obsessed with love taboos. We check out Luis Buñuel's classically kinky Belle De Jour (1967), and Jean-Marie Pallardy's rather less celebrated Franco-Turksploitation riot, White Fire (1984). Sadomasochism and.. siblings. It's quite a heady mix. We don't think you can really spoil White Fire, which has a storyline although comprehending it is probably optional, but we will call out a Spoiler Territory of sorts for Belle De Jour. If you want to skip ahead from that point, you can rejoin the conversation at the 1:04:36 mark to avoid spoilers. Want to get in touch? You can reach us on caliber9fromouterspace@gmail.com Theme music: "The Cold Light of Day" by HKM. Check out HKM on #SoundCloud or Bandcamp "Chance On A Feeling" by Jon Lord

Biografías, monografías sobre cada una de sus obras, análisis de sus etapas creativas, las colaboraciones con Dalí, los años mexicanos y su papel en el cine europeo, la vuelta a España… sobre Luis Buñuel se han publicado infinidad de trabajos firmados por grandes conocedores de su obra como Agustín Sanchez Vidal o Román Gubern e incluso, sus propios textos han visto la luz en ediciones de Manuel López Villegas o Tomás Pérez Turrent. Ahora, un monumental proyecto que publica PRENSAS de la universidad de Zaragoza nos permite recorrer la biografía, filmografía, influencias y efectos de la obra del cineasta calandino. Más de 750 páginas, apéndices con datos biográficos, filmografía, bibliografía e incluso un mapa conceptual que pretende retratar la enormidad de la obra del cineasta aragonés, componen un enorme diccionario que firman Jordi Xifra y Juan Manuel Fructuoso.

Su documental sobre la obra de Luis Buñuel. Hoy fue su premier en el Festival de Cine de Venecia

Este último especial de verano de “Sucedió una noche colección” se lo hemos dedicado al cine español. Repasamos la serie de escándalos que vivió Luis Buñuel a lo largo de toda su carrera. Recordamos a uno de los grandes de la comedia como fue Paco Martínez Soria. También vamos a recordar un peculiar subgénero cinematográfico que inundó las pantallas de nuestro país en la segunda mitad de los años 70 y principios de los 80 como fue el llamado “cine de destape”. Y terminamos viendo como fueron los comienzos de Pedro Almodóvar, el camino que le llevó a convertirse en uno de los directores más importantes de la historia del cine español.

The Basic Crawl 00:00:21 - Overview 00:03:19 - How have we used this in our games? 00:03:44 - Things we liked about this adventure 00:14:23 - Questions we had about this adventure 00:18:03 - Chain Lightning Round The Expert Delve 00:21:30 - Gardens! Companion Adventures 00:37:08 - Books The Secret Garden by Frances Hodgson Burnett (1911) The Only One Left by Riley Sager (2023) Mexican Gothic by Silvia Moreno-Garcia 00:38:43 - Location The Duchess of Northumberland's Poison Garden 00:39:15 - Film The Exterminating Angel (1962) dir. Luis Buñuel Hang out with us on Discord: https://discord.gg/K5myJQc4Bc (Jason) https://discord.gg/hnkRcskWZk (Tom) 

El Certamen de Cortometrajes de Bujaraloz rinde homenaje a Luis Buñuel y Alcalá de la Selva prepara una nueva edición de Festifalk. Además, recordamos la canción del verano (que no fue) de 1968.

José Luis Garci, Andrés Aberasturi, Emilio Oliete y Pedro Piqueras, en directo desde Calanda, nos hablan del festival y del cineasta Luis Buñuel. Escuchar audio

José Alberto Herrero, alcalde de Calanda, habla del Festival Mundial de Cine Buñuel-Calanda que cumple 20 ediciones, un número redondo que este año coincide con otra importante efeméride: el 125 aniversario del nacimiento del calandino más universal, el cineasta Luis Buñuel.Escuchar audio

La actriz Ángela Molina, desde el Festival Internacional de Cine Buñuel, repasa su trayectoria junto a Pepa Fernández. La actriz protagoniza el cartel de esta edición aniversario, ya que fue quien interpretó el papel principal en la última película del genio de Calanda, Luis Buñuel: Ese oscuro objeto del deseo (1977).Escuchar audio

Calanda, cuna del cineasta Luis Buñuel, celebra la XX edición del Festival Internacional de Cine. Hablamos con Carmen Molina, que vive un merecido homenaje. Fue la protagonista de la última película de Buñuel, "Ese oscuro objeto del deseo", y este año su rostro ilustra el cartel del festival.

What happens when a lavish dinner party refuses to end? Mike is joined by filmmaker Miguel Llansó and critic Rob St. Mary to unpack the surreal social satire of Luis Buñuel's The Exterminating Angel (1962). In this sharp and strange masterwork, a group of upper-crust guests find themselves mysteriously unable to leave a post-opera gathering—days pass, civility erodes, and Buñuel's absurdist lens skewers class, ritual, and the thin veneer of order.From sheep in the parlor to the creeping dread of inaction, we discuss the film's dream logic, religious and political interpretations, and its place in Buñuel's legendary career. Whether you're trapped by tradition, status, or just polite company, The Exterminating Angel remains one of cinema's most biting allegories—and we're not letting you leave until we've talked it through.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

What happens when a lavish dinner party refuses to end? Mike is joined by filmmaker Miguel Llansó and critic Rob St. Mary to unpack the surreal social satire of Luis Buñuel's The Exterminating Angel (1962). In this sharp and strange masterwork, a group of upper-crust guests find themselves mysteriously unable to leave a post-opera gathering—days pass, civility erodes, and Buñuel's absurdist lens skewers class, ritual, and the thin veneer of order.From sheep in the parlor to the creeping dread of inaction, we discuss the film's dream logic, religious and political interpretations, and its place in Buñuel's legendary career. Whether you're trapped by tradition, status, or just polite company, The Exterminating Angel remains one of cinema's most biting allegories—and we're not letting you leave until we've talked it through.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

Boomer & Brandon discuss Luis Buñuel's surrealist satire The Discreet Charm of the Bourgeoisie (1972), in which a small party of upper-class snobs are repeatedly deprived of their dinner https://swampflix.com/ 00:00 Welcome 01:27 Batman Ninja vs Yakuza League (2025) 06:25 Vulcanizadora (2025) 09:52 Pavements (2025) 19:52 Ernest Cole - Lost and Found (2025) 25:51 Mountainhead (2025) 33:23 Ballerina (2025) 34:15 Drop (2025) 35:47 Bring Her Back (2025) 40:00 The Phoenician Scheme (2025) 49:28 Caught by the Tides (2025) 52:26 Rampo Noir (2005) 56:00 Tokyo Godfathers (2003) 58:58 Taxi Driver (1976) 1:06:54 The Tragedy of Man (2011) 1:09:42 Josie and the Pussycats (2001) 1:14:43 Popstar - Never Stop Never Stopping (2016) 1:19:31 The Discreet Charm of the Bourgeoisie (1972)

Sam Clements is curating a fictional film festival. He'll accept almost anything, but the movie must not be longer than 90 minutes. This is the 90 Minutes Or Less Film Fest podcast. In this 90 Minutes or Less Spotlight episode Sam talks to Bryony Dixon, Silent Film Curator at the BFI. They discuss The BFI Film on Film Festival 2025 with a focus on the early surrealist film Un Chien Andalou by Luis Buñuel and Salvador Dalí.  Film on Film runs from 12-15 June 2025, with tickets available now.  Thank you for downloading. We'll be back in a couple of weeks! Rate and subscribe on Apple Podcasts: https://tinyurl.com/90minfilm If you enjoy the show, please subscribe, rate, review and share with your friends. We're an independent podcast and every recommendation helps - thank you!  You can also show your support for the podcast by leaving us a tip at our Ko-fi page: https://ko-fi.com/90minfilmfest Website: 90minfilmfest.com Blue Sky:  @90minfilmfest.bsky.social Instagram: @90MinFilmFest Tweet: @90MinFilmFest  We are a proud member of the Stripped Media Network. Hosted and produced by Sam Clements. Edited and produced by Louise Owen. Guest star Sean Baker. Additional editing and sound mixing by @lukemakestweets. Music by Martin Austwick. Artwork by Sam Gilbey. 

HERE WE ARE, the final ever musical to feature a score from the legendary composer lyricist Stephen Sondheim, is currently receiving its European premiere with a run at the National Theatre in London. The musical, which features a book by the playwright David Ives, was originally seen Off-Broadway at The Shed in 2023, and is based on two films by Luis Buñuel, The Exterminating Angel (1962) and The Discreet Charm of the Bourgeoisie (1972).The London production features a star-studded cast including Jane Krakowski, Jesse Tyler Ferguson, Rory Kinnear, Martha Plimpton, Harry Hadden-Paton, Paulo Szot, Richard Fleeshman, Chumisa Dornford-May, Tracie Bennett, Cameron Johnson, and Denis O'Hare.Having felt strongly about the production when Mickey-Jo first saw it in New York, check out this full review to find out why he's changed his mind about this musical...•00:00 | introduction 03:11 | overview / adaptation11:07 | the score17:42 | successes25:10 | shortcomings30:12 | performances•get in person / live stream tickets to see MickeyJoTheatre LIVE at the Phoenix Arts Club:https://phoenixartsclub.com/events/mickeyjotheatre-live/About Mickey-Jo:As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MickeyJoTheatre⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 80,000 subscribers. Since establishing himself as a theatre critic he has been able to work internationally. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows in New York, London, Edinburgh, Hamburg, Toronto, Sao Pãolo, and Paris. He has also twice received accreditation from the world renowned Edinburgh Festival Fringe. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK, Musicals Magazine and LondonTheatre.co.uk. He has been invited to speak to private tour groups, at the BEAM 2023 new musical theatre conference at Oxford Playhouse, and on a panel of critics at an event for young people considering a career in the arts courtesy of Go Live Theatre Projects. Instagram/TikTok/X: @MickeyJoTheatre

In Locust Radio episode #30, Tish Turl interviews fellow Locust comrade, Adam Turl, on their new book, Gothic Capitalism: Art Evicted from Heaven and Earth (Revol Press, May 2, 2025). You can order the book from Revol Press, Amazon, or find it at other booksellers.Artists, ideas, books, writers, artworks and other stuff discussed in this episode: Adam Turl, Gothic Capitalism: Art Evicted from Heaven and Earth (Revol Press 2025); Ernst Fischer, The Necessity of Art (Verso, 2020); Boris Groys, “The Weak Universalism,” e-flux (2010); Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction” (1936); Walter Benjamin, “Theses on History” (1940); John Berger, Ways of Seeing (1972); Mark Fisher, Capitalist Realism: Is There No Alternative (2009); Mark Fisher, Flatline Constructs: Gothic Materialism and Cybernetic Theory-Fiction (2018); Donna Harraway, “A Cyborg Manifesto” (1985); Karl Marx and Friedrich Engels, The Communist Manifesto (1848); Rena Rädle & Vladan Jeremić; Joseph Beuys; John Heartfield; Anupam Roy; Richard Hamilton; R. Faze; Born Again Labor Museum; Amiri Baraka; Omnia Sol; Sister Wife Sex Strike; Dada; Judy Jordan; Bertolt Brecht; Claire Bishop; The Sublime; “Third Places;” Fluxus; Abstract Expressionism; The Sopranos; The Wire; Surrealism; Charlie Jane Anders; Emily St. John Mandel; Pier Paolo Pasolini, La Ricotta (1963) and The Hawks and the Sparrows (1966); Boots Riley; Federal Arts Project; Luis Buñuel, The Exterminating Angel (1962); The Artists Union; Voltaire, Candide (1759); Gabriel García Márquez, One Hundred Years of Solitude (1967); Public Enemy, Fear of a Black Planet (1989); Beethoven, Symphony #9 (1822-1824); Sam Esmail, Leave the World Behind (2023); David Cronenberg, Videodrome (1983); Richard Seymour, Disaster Nationalism (2024)Produced by Tish Turl, Adam Turl, Omnia Sol and Alexander Billet. Theme by Omnia Sol, Drew Franzblau and Adam Turl. Hosts include Tish Turl, Laura Fair-Schulz and Adam Turl.

Esta semana el escritor Juan Manuel De Prada se ha fijado en la vida y la obra del director de cine Luis Buñuel. Y ha enumerado todas sus luces (y algunas sombras) de su biografía.

En esta edición de Maduritos Interesantes, junto a José Luis Garci, Ángeles González Sinde y Andrés Aberasturi, nos despedimos de dos grandes del cine español, Juan Mariné y Tony Ysbert, y celebramos el centenario del nacimiento de Sam Peckinpah y el 125 aniversario de Luis Buñuel. Además, exploramos el documental La conquista de la democracia y recordamos la lucha social que permitió la transición en España.Escuchar audio

Silvia Pinal, ¿la última diva del cine mexicano? En la última parte de 2024 el mundo de la cultura y el espectáculo mexicano recibió una noticia durísima: Silvia Pinal, una de sus más grandes representantes e icono del cine, había fallecido. Cientos de notas periodísticas, entrevistas y reportajes se publicaron en periódicos, tele y radio y en algún momento alguien puso etiqueta a todo esto: habíamos perdido a la última diva del cine mexicano. Pero, ahora cabe la pregunta: ¿Silvia Pinal era en realidad una diva? Actriz talentosa e incansable, cantante, productora, icónica tanto como cercana, creemos que Silvia Pinal es mucho más que eso. Para repasar su carrera y resaltar trabajos que muchos olvidaron en esos recuentos, tan importantes o más que sus colaboraciones con el no menos grande Luis Buñuel, hemos hecho este podcast dedicado a su figura. Para lograrlo de la mejor manera invitamos a este episodio a Roberto Fiesco, productor, guionista, director, enamorado y especialista en el cine mexicano.  Con Roberto Fiesco vamos a recordar el peso y el legado de una figura inclasificable como lo es Silvia Pinal. Inmortal. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pedro Sola, experto de espectáculos

Cultura Pop con Arturo Aguilar

Salvador Dalí orientó estratégicamente un espejo para que, cada mañana, el primer rayo solar incidiera directamente en su cama. El pintor de Figueras se preciaba de ser el primer peninsular en ver amanecer. La luz de Portlligat, la aldea de Cadaqués donde construyó la casa que compartía con Gala, lo era todo para el maestro surrealista. Y no fue el único creador que sucumbió a los encantos del extremo noreste de la España continental. Picasso, Magritte o Hamilton, junto con intelectuales de la talla de Josep Pla, Paul Éluard, Luis Buñuel o Federico García Lorca, encontraron la inspiración en este rincón de la comarca gerundense del Alt Empordà. Para comprender el efecto de Cadaqués paseamos con el escritor Hugo Scoccia, que nos conduce desde el simbólico faro del Cap de Creus hasta su lugar favorito del municipio: las rocas de la playa de Sa Conca. Por el camino disfrutamos de los parajes y caprichosas formaciones pétreas esculpidas por la tramontana en compañía de Ponç Feliu, director del parque natural. La jefa de comunicación de la Fundació Gala-Salvador Dalí, Imma Parada, nos espera en la casa del pintor. Después, con la ayuda de la guía local Mercè Donat, buscamos algunos de los inmuebles más notables de Cadaqués, como las casas Pont y Serinyana, o la sorprendente iglesia de Santa María. Antes de marcharnos conocemos la obra de Alicia Cayuela, la artista multidisciplinar que retrata los monstruos y el resto de seres que habitan este pueblo blanco; para muchos, el más bonito del Mediterráneo.Escuchar audio

¿Es más fácil hacer una buena película de una mala novela? Hasta cierto punto el cineasta Luis Buñuel sostenía esta paradoja y además la aplicaba a su propia carrera. Buñuel, en cualquier caso, detestaba 'Bella de día', la novela de Joseph Kessel, pero ganó el León de Oro en Venecia (1967) con su adaptación. La historia de la difícil escritura de esta película se cuenta en el tebeo ‘Buñuel y los sueños del deseo', que comentamos con Carlos Alsina, Rubén Amón, Rosa Belmonte, Guillermo Altares y Sergio del Molino. Además, celebramos el 80º cumpleaños del actor Michael Douglas. Y una oyente reclama a Rosa que cante una pegadiza (y recordada) canción de colegio.

This is our last stop for French movies this month and the last of our most romantic week under September's EUROPEAN VACATION theme. This movie bounces around from France to Spain and is one of the most bizarre romantic comedies out there. Pretty impressive for any director to hit it like this at the age of 80 but Luis Buñuel was a different breed. Fernando Rey plays a well-to-do widower who falls for a poor but beautiful 19 year old who lives with her mother. His obsessions overwhelm him as everything seems to be going spectacularly except he just can't get that one thing that many men want. Despite that they can't seem to keep away from each other. This woman seems so subtle and elegant or then again maybe she's actually sultry and emotive? It's like she's two different people and why does she hang out with those street boys? Is she really a virgin? We're discussing Luis Buñuel's final film, the 1977 romantic comedy, “THAT OBSCURE OBJECT OF DESIRE” starring Fernando Rey and most notably featuring Carole Bouquet and Angela Molina both playing the female lead, “Conchita”. Also featuring terrorism! This is probably peak “domestic violence in a comedy” that we will probably ever get. Not saying it's played for laughs but maybe that's what wealthy middle aged European men will do when they don't actually get to sleep with the young woman in the movie. Such chastitiy is a rare occurrence in these Euro flicks. Subscribe to us on YOUTUBE: https://www.youtube.com/channel/UCuJf3lkRI-BLUTsLI_ehOsg Contact us here: MOVIEHUMPERS@gmail.com Check our past & current film ratings here: https://moviehumpers.wordpress.com Hear us on podcast: https://open.spotify.com/show/6o6PSNJFGXJeENgqtPY4h7 Our OG podcast “Documenteers”: https://podcasts.apple.com/us/podcast/documenteers-the-documentary-podcast/id1321652249 Soundcloud feed: https://soundcloud.com/documenteers Twitch: https://www.twitch.tv/culturewrought

In another dispatch from the Fortress of Proopitude, Greg and Jennifer lecture on Lee Dorsey, Louis Gossett Jr and Luis Buñuel.