Pa negre

This movie has given me the same feeling of what another Spanish movie, "The Labyrinth" did to me several years ago. The cinematography, the lighting, the shooting angles, the colors are just top notched, but the story itself is not as good as the aforementioned elements. There are so many weird and depressed moments in this movie, sometimes even a bit messy. It seems to me that the Spanish people are still deeply haunted by their civil war and could never walk away or walk out of it. This is a very depressive movie full of symbolism. The bird lover father and his caged birds in the attic. The awkward and always confused childhood of the son, the local police chief, the often helpless mother, the whole family clan, the weird and a bit crazy left-hand missing girl...The Spanish dialog is sometimes too quick to be absorbed and understood even with the English subtitle. The struggle of the poor, as always, fell prey to the rich and the powerful. The adults always told their kids that what they did, good or bad, right or wrong, are solely for their kids and it's disgusting. No wonder the kid finally realized what the adults said were nothing but lies. His self denial, rejection and his recognition in the end was an inevitable result, gloomy and hopeless. This is a very heavy movie, just like the heavy colors in this movie.

This film swept the board at this year's Goyas (Spanish cinema awards), but after last years Cell 211 ( an enjoyable but unremarkable prison drama) did the same, I wasn't expecting too much.

I'd enjoyed Villaronga's disturbing Aro Tolbukhin, but I wasn't expecting this. One of the best opening sequences you'll see all year leads to a mystery, experienced through the eyes of one boy, that reveals lies, conspiracy and the dark secrets in the heart of a rural Catalan village a few years after the end of the Civil War.

It's magnificently done, and the performances of the children match those of actors such as Sergi Lopez (whose role echoes that in Pan's Labyrinth),Eduard Fernández and Marina Comas.

Scenes such as the boy's father instructing him to uphold his ideals and walk tall, or a powerless mother pleading her husband's innocence, are familiar from more commercial films. Here they are brutally undermined until nothing is left but pitiless self interest.

A chilling study of how war and poverty create monsters.

Agustí Villaronga's 'Pa Negre' has one of the most stupendously shot and chilling opening sequences I've seen among recent films. I wasn't aware of the hype surrounding it, including the fact that it had won many Goyas. A friend had recommended this film.

Set against the backdrop of postwar Catalonia, writer Emili Teixador weaves a complex tale of greed, betrayal, sacrifice and redemption. In a way, 'Pa Negre' is also a coming of age tale but a very dark one. Villaronga does an excellent job of bringing it to screen. His way of unfolding the story and uncovering the truth about the characters is done meticulously. It also provides some interesting historical insight that is less known to those not familiar with post-war Catalonia.

Moreover, the look of the film is quite authentic. The feel of the time seems to have been captured very well. The village and the stunning natural locations are are very real. Cinematography, editing and lighting are superb. The performances are sincere. Young actor Francesc Colomer does a fine job in leading the film. The rest of the actors are equally compelling.

'Pa Negre' opens with three brutal murders and ens with a child's realization of the dark truth that has changed him forever. Villaronga tells a disturbing tale of how war creates monsters even of those whom you've known all your life as loving beings with ideals.

Dark film with thrilling events , awesome performances , adequate settings and including a spotless as well as shading pictorial cinematography . The flick has some powerful , rousing images and occurs strong and downbeat happenings . This upsetting story of how war creates monsters is set in the harsh post-war years' Catalan countryside , as our hero is Andreu , a little boy (Francesc Colomer) who lives with his parents (Roger Casamajor , Nora Navas)and he then meets the corpses of a man and his son in the woods . The Mayor (Sergi Lopez) and Guardia Civil blame his daddy named Farriol (Roger Casamajor replaced Óscar Jaenada) of the deaths , but Andreu attempts to help him by finding out who actually murdered them . He investigates and finally discovers dark secrets . In this search he betrays his own roots and seeks the terrible truth . Then his father is detained , Andreu gives up hope of seeing him again and he goes home his grandmother , aunts and cousin .

This is a thought-provoking flick dealing with astonishing events as well as a passionate retelling and a touching post-warlike drama with some historical insight . "Pa Negre¨ or ¨Pan Negro¨ being finely adapted by the same director Agustí Villaronga from a novel written by Emili Teixidor about a twisted tale of treason , lies , punishment and redemption . This moving as well as strong story is an emotive recounting and an intense drama , including disturbing intrigues , tragedies , deaths and executions . "Black Bread" results to be other of the uncountable stories to deal with dramatic deeds regarding the Civil War background . A familiar theme about the global horrors of a fratricide war , impossible to forget to Spanish Cinema , as the picture gives a deep detail about lives at a village set during post-Civil War and some atrocities being committed by Francoists . It belongs a sub-genre that revolves around the themes of the civil war through the eyes of a child , as there are a great number of pictures about this engaging issues such as ¨Secrets of heart¨ by Montxo Armendariz , ¨Butterfly's Tongue¨by Jose Luis Cuerda , ¨Viaje De Carol¨ by Imanol Uribe and Pan's labyrinth by Guillermo Del Toro . Agusti Villaronga also writes the script and being filmed in his usual formal and stylistic scholarship , without leaving a trace the thoughtful issues , in terms of dramatic and narrative excitement . The main problem has to face "Pan Negro" , beyond not being able to avoid falling into the politic pamphlet is precisely derived from the coldness of its staging , which eventually become monotonous over 108 minutes of footage . This is an enough budget Spanish production and obtained moderate success in the Spaniard box office . The starring boy is well performed by Francesc Colomer , he plays as Andreu who develops a moral consciousness against a world of adults fed by lies and ends up finding out the monster that lives within him . Excellent support cast forming an enjoyable human group of players and giving excellent interpretations such as Roger Casamajor as a Republican father with deep idealism to be made responsible for two strange deaths , Laia Marull as unsettling Pauleta , Eduard Fernández as abusive teacher and Sergi López who plays a similar role to Pan's labyrinth as a cruel fascist . This was first Catalan-language film to win the Goya Award for Best Film and Spain's official submission to the Best Foreign Language Film category of the 84th Academy Awards 2012 .

Appropriate and evocative musical score by Jose Manuel Pagan . Dark as well atmospheric cinematography by Antonio Riestra who is nowadays working in internationals productions as ¨Mama¨ , ¨Lidice¨ , ¨Czech-Made Man¨ and ¨Last knights¨. Being filmed on location in Olot , Gerona , Puig-Reig, Santa Fe Montseny, Talamanca, Tavertet, Vic , Puig De Balma , L'Espunyola , Manlleu, Mataró , Barcelona , Catalonia, Spain . The motion picture was compellingly directed by Agusti Villaronga . Agusti was born in 1953 in Majorca, Balearic Islands, he uses to make films including genuine chills , suspense , mystery and dark atmospheres . His movies pack excellent creation of taut , thriller , emotions and rare atmospheres such as ¨Aro Tolbukhin¨ , ¨El mar¨ , ¨El Niño de la Luna¨ and especially ¨In a glass cage¨ or ¨Tras el Cristal¨ . His greatest success was this ¨Black bread¨ or Pa Negre¨ winning several Goyas .

Black Bread begins with a familiar scene: a man leads his horse and cart through a darkened wood, glancing around with unease at the various forest sounds which break the tense silence. A fairy-tale quality hangs over the scene, the images framed in wide angles and brought to life with rich autumnal hues; perhaps this will be a fantasy parable. When an assailant attacks the traveller, binds him in the cart, and leads the now-blindfolded horse to the cliff's edge, brutally smashing it in the face with a sledge hammer, our stomachs concomitantly fold alongside the illusion that this will be anything but sickeningly real. It is the first clue to us that we are not in for the easiest of rides; many of the images that will come to us will be disturbing, even distressing.

Set in the years following the Spanish civil war, the film portrays the lingering dissent and tarnished political atmosphere of a nation divided. Andreu—the young boy who discovers the wreckage and is caught up in the post-civil war world of deceit that grips his small village as he attempts to discover the truth behind the "accident"—is sent to live with his grandmother, aunt, and cousins when his father—having fought for the losing side along with the murdered man—is forced to flee in fear of his own life. Andreu's journey to discover what happened to the cart and its riders takes him into the darkness within his village, his family, and even himself.

It seems to me that there is a recurrent idea in modern Spanish-language cinema: to explore the issues of the civil war through the eyes of a child. Predating Black Bread, there are a number of films such as Butterfly's Tongue and Pan's Labyrinth which use the same concept. Examining the war through young eyes contextualises it, reducing it to its most fundamental perceptible elements and providing a fascinating perspective on (in the case of the former) the senselessness of condemning people by ideology alone and (the latter) the monstrousness of war and the frivolity of conflict. In a way, Black Bread achieves both of these things, though far more so the second. It demonstrates not the horror of war itself, but the horror of the people war creates; the capability for evil of those left living. The dark truths Andreu unearths are as horrifying as any war, the images he dreams up truly disturbing. The child protagonist is a proxy through whom we see things at their most stripped-down, basic, and shocking, exposing to us the sheer lunacy of humanity's follies. Surprising is the film's tackling of a particular societal issue which gradually becomes the centre of its comment upon our race, and the animalistic prejudices which, sadly, so often characterise us. Worth making mention of is the film's name, something of a motif referring to the secondary theme of class and social standing, commenting upon the sickening imbalance between the wealthy and the poor in times of hardship. Most films would do well to achieve half the depth Black Bread manages with this theme, and it is a secondary one.

A worthy addition to the fray of Spanish civil war dramas, Black Bread is a surprisingly dark and deep examination of war's effect upon the lives and personalities of those who suffer through it. Condemning the capability of ordinary people to do extraordinary evil, it is an impactful portrait of guilt, responsibility, society, and family.