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El Cuadro
The Painting
AUTEUR(S)-RÉALISATEUR(S)

Andrés Sanz Vicente

IMAGE

Javier Ruiz Gómez

SON

Micky López

MONTAGE

Andrés Sanz Vicente

MUSIQUE ORIGINALE

Santiago Rapallo

PRODUCTION / DIFFUSION

Mare Films, TVE, TeleMadrid

PARTICIPATION

ICAA, Comunidad de Madrid

ORGANISME(S) DÉTENTEUR(S) ou DÉPOSITAIRE(S)

Selected Films

ISAN : non renseigné - en savoir plus
COMMENT VISIONNER CE FILM ?

El Cuadro est un film documentaire et un thriller, une trame de mystère sur le chef-d'œuvre universel de Diego Vélasquez, Les Ménines, la peinture qui rassemble le plus grand nombre d´énigmes de l´histoire.
Un film qui joue à convertir le spectateur en détective et le guider dans le labyrinthe de pistes qui conduisent à déchiffrer le secret occulté.

The Painting is a plot of mystery regarding a universal work of Diego Velázquez. Las Meninas, the painting which contains the greatest number of riddles in history. A film that toys with the spectator, transforming them into a detective whilst guiding them through the labyrinth of clues that lead to deciphering the secret hidden by Velázquez.

"It has been said that the baroque artist Diego Velázquez didn’t paint figures, but the air and light between them. And one could say about this film that it is not Velázquez’s larger-than-life painting Las Meninas that is the subject, but the penetrating gaze with which it looks back at his viewers. Among the many clever minds that discuss the artist and the intricate structure of this painting’s composition, it is curiosity itself that somnambulates here.
Paintings aren’t movies, they’re paintings”, insists art critic and historian Svetlana Alpers. She’s right, of course – and then again, she isn’t. She’s one of the renowned talking heads interrogated by director Andrés Sanz Vicente to solve a crime. But who or what actually died? Perhaps our ability to see, as Alpers claims? For around 400 years, Diego Velázquez’ painting has been exposed to the eyes of its public, the analyses of its scientifically advanced critics who have racked their brains over who on the canvas enters through which door and why. The Painting is a continuation of this painting-eye-encounter with the means of cinema. The air and the light between the concrete thing and its passionately glowing aura are captured. In this, but only in this, a painting can be a movie after all."
(Sylvia Görke - DOK Leipzig)

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