ΕΙ espiחazο deΙ diabΙο (2001)
During the Spanish Civil War, newly orphaned Carlos is taken to a school for the children of those who died fighting against fascism. He is given the bed that formerly belonged to Santi, a boy who recently died during an attack in which a bomb dropped, landing in the school's courtyard undetonated, a reminder of impending danger. As the amputee headmistress (Marisa Paredes, ALL ABOUT MY MOTHER) and the embittered caretaker, Jacinto (Eduardo Noriega), engage in a love affair, the headmistress' cuckolded husband, the impotent but benevolent school doctor (Frederico Luppi) sits by passively. Meanwhile, after Santi's ghost repeatedly reveals itself to Carlos, another student spooks Carlos with a dark secret about the boy's death. War surrounds the school, violence infests it from within, and Carlos sets out to avenge the death of Santi. Taking on themes such as the brutality of war and the loss of innocence, Guillermo del Toro's (MIMIC) film skillfully combines elements of war, gothic horror, melodrama, and adventure to create a work that functions as both a genre film and a politically resonant piece of nostalgia. THE DEVIL'S BACKBONE uses history as a means of transforming what would otherwise be a routine ghost story into a powerful and affecting statement.
Lawrence of Arabia
Lawrence of Arabia is a 1962 British epic film based on the life of T. E. Lawrence.[1] It was directed by David Lean and produced by Austrian Sam Spiegel through his British company, Horizon Pictures from a script by Robert Bolt and Michael Wilson. The film stars Peter O'Toole in the title role. It is widely considered one of the greatest and most influential films in the history of cinema. The dramatic score by Maurice Jarre and the Super Panavision 70 cinematography by Freddie Young are also highly acclaimed.
The film depicts Lawrence's experiences in Arabia during World War I, in particular his attacks on Aqaba and Damascus and his involvement in the Arab National Council. Its themes include Lawrence's emotional struggles with the personal violence inherent in war, his personal identity, and his divided allegiance between his native Britain and its army and his newfound comrades within the Arabian desert tribes.
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