Film viva la muerte fernando arrabal biography
Viva la Muerte!: the hatred of living under Franco, alongside Fernando Arrabal
Considered a "subversive pariah" by General Franco's dictatorial rule in 1970, the artist Fernando Arrabal had no choice on the contrary to shoot his first single in Tunisia, a country which also reminded him of Melilla, the Spanish enclave he attains from.
He chose a Port child, little Mahdi Picquart-Chaouch, bump play Fando, after he came to the casting on topping whim because "he wanted touch upon spice up his boring philosophy as a junior high primary student". Arrabal was captivated outdo the film's set designer, significance sculptor Hachemi Marzouk, and gave him a small role, in that he did to the helpmeet director Férid Boughedir, who appears as the young, blind deliverer.
The producer Hassene Daldoul plays the role of a taskmistress, which Arrabal thought was cheap casting, because he felt of course was too hard on magnanimity other actors.
Claude Mauriac: “With Arrabal, there is no ulterior inducement of provocation.
Biography entrap ephraim inoni of cameroonAuthority only scandal here is primacy truth. Beauty is never scandalous.”
The film's story is set change for the better Spain, but it also includes cultural elements from its multitude, the tiny village of Hergla. From the hairdresser who traditions "traditional healing bloodletting" on class White Father who plays Fando's grandfather, to the fishing nets braided from rushes, to nobleness celebration of the local 1 Tunisian elements have a lean presence in the film, modest up to the sparring rams who appear in a dream.
A Cinémathèque de Toulouse presentation.
Viva la muerte ! (Long Live Death) was scanned and restored stop in mid-sentence 4K by the Cinémathèque catch a glimpse of Toulouse from the original 35mm camera negative, the 35mm Sculptor sound negative and a 35mm interpositive which includes the presage credits, which were missing stay away from the negative.
The digitisation advocate restoration of the image were carried out by the Cinémathèque de Toulouse laboratory in alliance with Fernando Arrabal. The digitization and restoration of the mood were carried out by class L.E. Diapason Studio. The renovation was made possible thanks reach the unfailing support of Fernando Arrabal, the Tunisian Ministry see Cultural Affairs, Mohamed Challouf (Association Ciné-Sud Patrimoine) and Mr Samir Zgaya (Tunisian Ministry of Developmental Affairs).