La Llorona and El Fantasma del Convento: conceived as Mexican horror fables for Mexican audiences, these expressionist gems tap indigenous cultural riches and brooding Catholic guilt. The fable of ‘The Wailing Woman’ is told in a three-part story starting with la conquista; the spooky ‘Phantom of the Monastery’ is a moral tale cautioning against carnal sin, set in a haunted ruin. Ramón Peón, Fernando de Fuentes and Juan Bustillo Oro’s adult approach achieves a true sense of The Uncanny, mixed with powerful social statements. These are separate disc releases: one film is sourced from the only known existing print, and the other is a full-on 4K restoration from prime nitrate film elements. Indicator’s extras tap the best research available on the titles.
La Llorona
and
El Fantasma del Convento
Separate Region-Free Blu-ray Releases
Powerhouse Indicator
1933 & 1934 / B&w / 1:37 Academy
Street Date March 21, 2022 (both) / Available from Powerhouse Films UK
Directed by Ramón Peón,...
La Llorona
and
El Fantasma del Convento
Separate Region-Free Blu-ray Releases
Powerhouse Indicator
1933 & 1934 / B&w / 1:37 Academy
Street Date March 21, 2022 (both) / Available from Powerhouse Films UK
Directed by Ramón Peón,...
- 2/19/2022
- by Glenn Erickson
- Trailers from Hell
The New York Film Festival kicked off with its first press screenings for one of two repertory series under the festival’s “Masterworks” category. Fernando de Fuentes’ El Prisonero Trece (Prisoner 13) (1933), El Compadre Mendoza (Our Buddy Mendoza) (1934) and Vamanos con Pancho Villa (Let’s Go with Pancho Villa) (1936) are a trilogy in the sense of the tone, themes and historical context that they live in, but to be clear, they are comprised of separate narratives. What they have most in common are the themes of corruption and hypocrisy, both moral and political. El Prisonero Trece focuses on Colonel Carrasco (Alfredo del Diestro). It’s a story of Carrasco vs. the revolutionaries vs. himself. There’s a lot of drinking, bumbling police, bribery, mistaken identity, unjust arrests and executions. The final act of this film unfolds far differently than you’d expect. The beginning hints at a sentimentality that was characteristic...
- 9/23/2010
- IONCINEMA.com
It’s a particularly amazing experience watching a film from the 1930s and feeling as though it’s doing things you haven’t seen before. Such is the case with Fernando de Fuentes and his acclaimed Mexican Revolution Trilogy, which will screen in succession at this year’s New York Film Festival, from Sept. 29th through 30th.
De Fuentes, now regarded by all cinephiles as a pioneer in his own right, was born in Veracruz, Mexico, studied Philosophy at Tulane University and returned to Mexico as a poet/journalist. He was nearly 40 years old when he made his first film El Anónimo. Of course, his worldliness paid off in spades. Especially when it came to putting the Mexican Revolution to celluloid. De Fuentes’ second film, El Prisionero 13, would be the first of his revolution trilogy.
And while Prisionero appears to be a giant leap in ambition from the romantic...
De Fuentes, now regarded by all cinephiles as a pioneer in his own right, was born in Veracruz, Mexico, studied Philosophy at Tulane University and returned to Mexico as a poet/journalist. He was nearly 40 years old when he made his first film El Anónimo. Of course, his worldliness paid off in spades. Especially when it came to putting the Mexican Revolution to celluloid. De Fuentes’ second film, El Prisionero 13, would be the first of his revolution trilogy.
And while Prisionero appears to be a giant leap in ambition from the romantic...
- 9/21/2010
- by Dan Mecca
- The Film Stage
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