Examiner par howard.schumann

Ana (Ana Torrent), a sad-eyed little girl of about eight years old, unable to sleep, overhears a conversation as she walks down the stairs to get a glass of water. The voices, coming from her father Anslemo's (Hector Alterio), room, are exchanging expressions of mutual love. Ana hears the gasp of a man's voice crying that he is suffocating and then silence. A woman that she recognizes as Amelia (Mirta Miller), the wife of army officer Nicolás (Germán Cobos), her father's best friend, hurriedly leaves the room and heads for the front door, her blouse still unbuttoned. When the girl goes into her father's room, he is dead. She calmly takes the almost-emptied glass of milk next to his bed and washes it in the sink, then carefully puts it back on the kitchen rack.

It's title derived from the Spanish proverb "Raise ravens and they'll take your eyes," Carlo's Saura's haunting Cria Cuervos is a masterful insight into the mind of a little girl traumatized by the death of both of her parents. We see events from Ana's perspective and its fragmented view of an imaginative but angry and resentful child is a mixture of fantasy and reality that is often hard to separate. The film is also seen by some as an allegory for the mindset of the dying days of the Franco dictatorship. Whether it is viewed as a political statement or not, Cria Cuervos' evocation of the painful memories of a child whose grasp on reality is fading is masterful and deeply moving, especially given Ana Torrent's heartfelt and authentic performance.

Ana is one of three sisters. The older one is Irene (Conchita Pérez) and the younger one is Maite (Maite Sanchez). The little girl has visions of her mother talking to her, giving her advice about staying up too late, and reading stories to her in bed. Ana deeply longs for her mother (Geraldine Chaplin) who died of a painful illness before her father passed away. In voice-over we hear the adult Ana (also played somewhat confusingly by Geraldine Chaplin) recalling her memories from childhood and she has little good to say about them, saying that she remembers it being "interminably long and sad, full of fear." The children are now under the care and protection of their Aunt Paulina (Mónica Randall), who lacks warmth and affinity, and some have compared her haughty nature to the authoritarianism of the Franco government.

As a result, the children are much closer to Rosa, the family maid, who talks to them about family secrets even though much of what she says goes over their head. Also living with them in their country estate is the girls' grandmother, disabled and unable to speak who loves to look at family pictures on the wall, trying to recapture her fading memories of the past. The girls play at being adults. Irene puts on her aunt's bra and does her lashes. Pretending to be her father, Irene draws a moustache on her face while Maite wears high heels. Ana puts on lipstick as they act out their version of memories recalled from the many arguments they heard between their unfaithful father and their depressed and anxious mother.

The motif of death runs throughout the film. Ana believes she poisoned her father and fantasizes about also killing her aunt. She even mixes some baking soda in her aunt's milk, thinking it is poison. In one sequence, Ana looks down a busy Madrid street from her roof and pictures herself jumping to her death. The children also play hide-and-seek in which the one whose hiding place is discovered has to pretend to die and remain "dead" until Ana offers a prayer to her guardian angel to "revive my sisters." Although we are somewhat buoyed by the scene of the end of the summer with the girls going back to school, we are left to wonder whether the family's cynicism and negativity will carry over into the children's adult life. The adult Ana's voice-over, heard without any context, is not promising.