Vicente Aranda

Vicente Aranda
Born	Vicente Aranda Ezguerra November 9, 1926 (1926-11-09) (age 82) Barcelona, Spain
Occupation	filmmaker
Years active	1964 - present
Awards won Goya Awards Best Director for Amantes Best Film for Amantes

Vicente Aranda (born on 9 November 1926 in Barcelona), is a Spanish film director, screenwriter and producer.

Due to his refined and personal style, he is one of the most renowned Spanish filmmakers. He started as a founded member of the Barcelona School of Film and became known for bringing contemporary Spanish novels to life on the big screen. Aranda is famous for exploring difficult social issues and variations on the theme of desire that employs the codes of melodrama.

Love as uncontrollable passion, eroticism and cruelty are constant themes in his filmography. The frank examination of sexuality is one of the trademarks of his work as can be seen in his most internationally successful film: Amantes (1990) (Lovers).

Contents 1 Early life 2 Film career and later life 2.1 Early films (1964- 1974) 2.2 Cambio de Sexo (1976) 2.3 La Muchacha de las Bragas de Oro (1980) 2.4 Asesinato en el Comité Central (1982) 2.5 Fanny Pelopaja Fanny Pelopaja (1984) 2.6 El Crimen del Capitán Sánchez (1984) 2.7 Tiempo de Silencio (1986) 2.8 El Lute (1987) 2.9 El Lute II, mañana seré libre (1988) 2.10 Si te dicen que caí (1989) 2.11 Los Jinetes del Alba (1990) 2.12 Amantes (1991) 2.13 El Amante Bilingüe (1993) 2.14 Intruso (1993) 2.15 La Pasión Turca (1994) 2.16 Libertarias (1996) 2.17 La Mirada del Otro (1998) 2.18 Celos (1999) 2.19 Juana la Loca (2001) 2.20 Carmen (2003) 2.21 Tirant lo Blanc (2006) 2.22 Canciones de Amor en Lolita's club (2007) 3 Filmography 4 Notes 5 References 6 External links

Early life

Vicente Aranda Ezguerra was born in Barcelona on 9 November 1926.^[1] He was the youngest son in a large and impoverished family who had emigrated from Aragón to Barcelona twenty years before he was born. ^[2]The Spanish Civil War, in which his family took the side of the losing Republicans, marked his childhood.^[2] Thinking that the war was going to be more bearable in a small town than in Barcelona the family moved early in the war to Peñalba, his mother's native village. The dire situation there forced them to come back to Barcelona in 1938.^[3]

After the war ended, Aranda spent a lot of time in the local movie theatre, much against the wishes of his parents, who took to smelling him on his return for traces of the disinfectant that was sprayed in cinemas of the time.^[4] He never finished his studies. At age thirteen, he had to begin to work in order to help his family.^[3] He had a number of different jobs in his home town, trying a multitude of trades before following his brother to Venezuela in 1952 ^[4]. He emigrated for economical and political reasons.^[3] In Venezuela, Aranda worked as a cargo technician for an American shipping business and later became responsible for programs at an important electronic company. After seven years, he came back to Spain in 1959.

Wealthy and married upon his return, he had the initial desire to become a novelist, but found that he lacked enought talent as a writer. He fell in with the cultural elite of Catalonia and was encouraged to try his hand at filmaking, even after being denied acces to the School of Cinema in Madrid because he never graduated from high school^[4]. In Barcelona and completely self-taught, Aranda found the way to direct his first feature film.

Aranda started directing films late in life, at almost forty and did not reach international success until his 60s, nevertheless, he has had a long and prolific career making twenty-six films in more than forty years as director.^[5] Vicente Aranda is married to Teresa Font, his second wife, editor of his movies since the mid 1980s; they have two daughters.

Film career and later life

Early films (1964- 1974)

Aranda made his directorial debut with the low- budget Brillante Porvenir (1964) (Brilliant Future), co directing with screenwriter Román Gubern. Loosely adapted from the Great Gatsby, the film was naive in its appropiation of the aesthetic of the neorealism for a portrait of the Catalan middle class.^[4] Brillante Porvenir, cut by censors, was received coldly by public and critics, but it served to redirect Aranda towards the more fantastic ambit of film making.^[4].

His second film, Fata Morgana (1965), an unusual work in Spanish Cinema, is an experimental film, based on a script written with Gonzalo Suárez. The film took inspiration for its visual style from television commercials and comic strips.^[6] Ignored upon release, Fata Morgana would eventually be recognized for inspiring the particular kitsch aesthetic of the Barcelona School of Film,^[4] an avant garde movement which sought creative renovation of Spanish films.

Aranda’s work over the next decade would reveal much of the same tensions noted in Fata Morgana, name a polarity between certain artistic pretensions and a virtual style drawn from mass media. In these films, Aranda worked within established film genres with and eye on revising and modernizing them. ^[6]

Since his first features were not widely seen, Aranda followed up with a commercial film with fantastic and erotic overtones: Las Crueles (1969) (The Exquisite Cadaver). In it, a mysterious woman elaborates a scheme to avenge the death of her girlfriend from a callous publisher. This filmed was plagued with a series of problems: it was long in the making; Aranda suffered an accident during the shooting, which forced him to work from a stretcher and finally he had a legal battle with the producers.^[7] It would take Aranda many years to recover ownership of this film. The experience made him found his own production company: Morgana film, which would produce his next six films.^[8]

In La Novia Ensangrentada (1972) (The Blood Spattered Bride), a female vampire seeks revenge against all men. A genre film for the cultural elite, that got around the censors by virtue of its incomprehensibility. By Aranda own admission he sacrificed conventional coherence for the cinematographic and phenomenological possibilities of each action.^[4] The film was distributed internationally in the United States, France and Italy.^[8]

Aranda started to employ the codes of melodrama with: Clara es el Precio (1974) (Clara is the Price), an offbeat mix of melodrama, parody and surreal comedy. He cast Amparo Muñoz, Spain’s future Miss Universe, as an innocent adrift in a world without taboo: a young virgin bride, whose infantilised husband is impotent with her alone, and who then pursues a career as a pornographic film actress in order to fund a business project. ^[3] The film’s imprudence was also its purpose. Like the Surrealist, Aranda’s ability to shock was itself a political statement. “ We had lived in a state of consensus and this is fatal for cinema”, he complained, “ We have become our own censors and all we want to do is forget, be silent, not speak” ^[3]

Cambio de Sexo (1976)

With the fall of Francos’s regime, the Catalan director was finally able to shoot more daring films like: Cambio de Sexo (1976) (Change of Sex), skillfully tackling the subject of transexuality. This film was the beginning of a long collaboration with Victoria Abril, over the next three decades director and star would be paired in more than ten films that would include major triumphs for both. Made in the period called the transition, Cambio de Sexo is a salient example of the use of transsexualism to reflect social change. The film dramatizes the development of the destape – the period in the late 1970s and early 1980s Spain characterized by a much more open portrayal of sex in the press, literature and film.

Cambio de Sexo recounts the story of a young effeminate boy, played by Victoria Abril, who lives in the outskirts of Barcelona and escapes to the city to explore his desire to become a woman. The character of the young man with a sex identity problem is an embodiment of the changes confronted by the two sides of Spain with their opposites extremes of uncompromising orthodoxy and unrestrained anarchy. Cambio de Sexo allured audiences with its controversial theme, a real novelty, and was released to critical acclaim.

La Muchacha de las Bragas de Oro (1980)

The final element in the dominant Aranda style came in 1979 when he made a clever film adaptation of the popular novel by his fellow Catalan Juan Marsé: La Muchacha de las Bragas de Oro (1980) (Girl with the Golden Panties).^[6] In it, a Falangist character, writing his memoirs accommodates his past to the new democratic realities, but he is confronted with his lies by his carefree niece who playfully stars a game of seduction.

Over the next fifteen years, Aranda established himself, as Spain’s foremost adapter of popular novels into film. ^[6] Unlike the more traditional adaptation that stressed their classical literary origins, his choices usually were guided by the centrality of an erotically defined female character, and a competemporay story emphasizing the force of the milieu on the shaping of actions.^[6]

Aranda has a very special relationship with literature and a great number of his movies are based on literary works. He has been seen as a director who specializes in adaptations from short narratives to novels, including even biographies. Nevertheless for Aranda, adapting a literary work does not involve complications or absurd problems of faithfulness, or lack of the same, to the original text. For him the novel is a raw material with which to create new forms: “ As for adaptations, I feel very comfortable doing them. I don’t have problem with authorship. I don’t think I am more of an author if I write a screenplay of something I’ve read on the news papers or seen on the street that if I take a novel and make a movie based on its contents”.

Asesinato en el Comité Central (1982)

After democracy was installed in Spain, Aranda made a film politically charged with the aftereffects of Franco's regime: Asesinato en el Comité Central (1982) (Murder in the Central Committee). In this thriller, a power cut interrupts the proceedings of the Communist Congress and, when the lights come back on, the leader is found death, murdered. The film was based on one of a series of novels by Manuel Vázquez Montalbán that featured a hard-boiled detective called Pepe Carvalho. ^[9] The intrigue runs a poor second to Aranda’s commentary on the Spanish transition to democracy. ^[9] “ The truth is that I cannot think of another film that deals with this fascinating period’, he stated, there is a kind of collective amnesia about the time”. ^[10]

Much of the film’s action is filtered through headlines and television reports in imitation of the way in which the Spanish public lived the transition. ^[9] The televised funeral of the Communist leader is a sly montage of mourners at the funeral of Franco, while La Pasionaria ( the legendary Spanish Communist leader who passed dictatorship in exile in the Soviet Union) appears as a senile old dear who sits next to the victim but does not even realize he is dead. Like La Muchacha de las Bragas de Oro, this was a film about extremist coming together in a democracy, in this case in order to solve a crime. ^[9] Whodunnit ? it does not matter. As the interior minister exclaims: In the same way that we’ve had to forget everything, you should to the same” ^[9]

Asesinato en el Comité Central was Aranda’s first work made in Madrid instead of his native Barcelona. The film was received with a cold commercial response.^[9]

Fanny Pelopaja Fanny Pelopaja (1984)

Aranda then adapted another popular Catalan novel making a daring rewrite of Andreu Martín noir detective novel, Prótesis, in which he transformed the male protagonist into a female retiling the work Fanny Pelopaja (1984).^[6] The film depicts a violent love hate relationship between a delinquent woman and the corrupt police officer she wants to get even with.

Co financed by French producers, the film was made in Barcelona with Spanish supporting cast and crew, but with two French actors in the lead. Dissatisfied with the French dubbing of the film, done without his oversight, Aranda tried to stopped the premiere of the film in France, were it was released with the title Á coups de crosse. As a result of this dispute Aranda sold its shares in Morgana films, the production company he had created. ^[11] Fanny Pelopaja failed to find an audience when first released, but now has become one of Aranda best regarded works.^[11]

El Crimen del Capitán Sánchez (1984)

After his two previous films were received coldly by audiences, Aranda accepted to take part in La Huella del Crimen (The Trace of the Crime), a televition series consisting of six episodes depicting infamous crimes happened in Spain. Reknown Spanish film directors: Pedro Olea, Angelino Fons, Ricardo Franco, Juan Antonio Bardem, Pedro Costa and Vicente Aranda were invited to direct, each one of them, a different episode. ^[12]

Aranda’s chapter El Crimen del Capitán Sánchez (1984) (Captain Sánchez's Crime), was considered the best episode of the series. ^[13] Made in 16 mm and with a very low budget,^[13] the one-hour film tells a story in which incest, jealousy and death mix in Spain of beginnings of the twenty-century. The title character is a military officer, who supports his poor family and pays his gambling debts plotting an elaborate trap to swindle money from those who fall for his young daughter.

Tiempo de Silencio (1986)

It was not until his adaptation of the famed Luis Martín Santos novel, Tiempo de Silencio (1986) (Time of Silence), that the larger, profound design of Aranda’s critical vision of Spain became apparent.^[6] The film had a major cast headed by Imanol Arias, Victoria Abril and Francisco Rabal. Set in the 1940s, in the early days of the Franco’s regime, the plot follows the story of an ambitious doctor who is accused of killing a woman while performing a botched abortion. The story moves from the sordid life of shanty dwellings to the hypocrisy of the middle classes in a critic of Franco’s regime. Aranda’s themes of sexuality are used as a register to which political and historical issues can be expressed. ^[6] Though much criticized for his realistic approach to the narrational complexity of the Martín Santos novel, Time of Silence was generally well received by audiences.^[6]

El Lute (1987)

Aranda took a deconstructive approach to the manipulation of popular myth in his two- part biopic: El Lute: camina o revienta (1987) (El Lute, Run for Your Life), and El Lute II, mañana seré libre (1988) (El Lute Tomorrow I’ll be Free).^[14] El Lute: camina o revienta (1987) (El Lute, Run for Your Life) concerns the legendary delinquent Eleuterio Sánchez, known as El Lute, a poor man forced by social deprivation into delinquency in the 1960s. After an early nomadic period of his life, El Lute moves to Madrid's slums outskirts, becomes involved in a burglary and murder, is tortured and condemn to life in prison. He becomes the target of obsessive control and punishment out of all proportion to his original petty crimes and is elevated to folk hero by way of his resistance to authoritarian injustice.

Aranda’s hybrid combination of period drama, thriller and social realism reveals how the criminal career and media profile of this petty thief were manipulated and exploited by the authorities as a diversionary tactic at a time of political unrest.^[14] El Lute: camina o revienta (1987) (El Lute, Run for Your Life) was one of Aranda’s most successful adaptation and became the highest grossing Spanish film in 1987.^[14]

El Lute II, mañana seré libre (1988)

In the second part:El Lute II, mañana seré libre (1988) (El Lute Tomorrow I’ll be Free), El Lute, now a fugitive, is reunited with his siblings. He tries to start a new life, but fails to fit in as a normal member of society. After an spectacular escape from prison, El Lute becomes the focus of an obsessive pursuit by the Francoist authorities and the object of massive popular interest by the press and public in the late 1960s and early 1970s.

Compared to the strongly realistic and political tone of the first installment, El Lute II, mañana seré libre took a more fictionalized, folkloric approach, adopting a more pronounced thriller profile.^[15] Although the film includes numerous concessions to violence and eroticism, it delivered a resounding critique of the Franco regime and its brutal treatment of the Spanish gypsy population.^[15]

Si te dicen que caí (1989)

The frank examination of sexuality is one of the trademarks of Aranda’s work and he made his most sexually explicit film with Si te dicen que caí (1989) (If They Tell You I Fell), an adaptation of a novel of the same name by Juan Marsé.^[16] With a laberyntic structure in which imaginary facts and real events are blend in a crosswords style, the main part of the story is set in the old quarter of 1940’s Barcelona during the early years of Francoist repression. The plot centers on a young man who, trying to survive in the aftermath of the Spanish Civil War, is hired to perform sexual acts with a prostitute for the voyeuristic pleasure of a rich falangist rendered crippled during the war. With a large cast, including Victoria Abril playing three different characters, the film was daring an ambitious in its scope.^[17]

Los Jinetes del Alba (1990)

At the request of Pilar Miró, then director of TVE, Aranda took on :Los Jinetes del Alba (1990) (Riders of the Dawn) an adaptation of the novel by Jesús Fernández Santos about the Spanish Civil War and the anarchist movement.^[18]

Made as a five parts TV miniseries, it centers on a young woman driven by the ambition to own the resort where she works in a small town in Asturias. When she finally achieves her goal, there is little to rejoice about. Aranda's favorite topics: cruelty, violence and sex pervade a story framed by the tumultuous life of Spain in 1930s, the uprising in Asturias in 1934 and the Spanish Civil War.^[18] This is one Aranda’s most paradigmatic works.^[19]

Amantes (1991)

In the 1990s, Vicente Aranda continued to make films that were commercial hits at home and were shown at film festivals worldwide. With Amantes (1991) (Lovers), the director finally achieved wide international exposure and critical acclaim. This tragic story of forbidden passions and betrayed innocence is a film noir, inspired by real events. In the repressive Spain during the early 1950s, a young man just out of military service is torn between his attraction for the two opposite women who love him: his girlfriend, a naïve maid and, his landlady, an attractive, scheming widow.

Originally conceived as a T.V project, Amantes, was made with few actors, a small crew and with few exteriors.^[20] Nevertheless, it is widely considered as the director's most accomplished work, becoming a classic of Spanish Cinema ^[21] It marked the beginning of Aranda most prolific period.^[22]

El Amante Bilingüe (1993)

Still investigating into the passion of love, Aranda directed El Amante Bilingüe (1993) (The Bilingual Lover), also an adaptation of a story by Juan Marsé. Set in Barcelona, this is an ironic film that mixes Catalan linguistic policies, nationalism and eroticism with a pattern of double identity. The central character is a humble man who falls in love with a beautiful rich woman, they marry but his unfaithful wife abandons him later. He is horribly disfigured in an explosion and gradually adopts a new identity in an effort to lure back his spoilt ex-wife.

Intruso (1993)

Some of Vicente Aranda films present real events, things that happens on the street but that have had the appearance of the exceptional occurrences, where passion, toughness, and violence manage to acquire a tone of unreality that is almost literary as in Intruso (1993) (Intruder). This film is a psychological thriller with much of the visual atmosphere and exacerbated passions of Amantes. ^[23] A middle class woman is torn between her love for her spouse and her ill ex-husband, both of which were her childhood friends. After ten years of separation, they are entangled in a tragic story.

La Pasión Turca (1994)

In almost all of Aranda’s films, a woman is the protagonist and the center around which the story turns.^[24] La Pasión Turca (1994) (Turkish Passion) an adaptation of the novel by Antonio Gala, is an exploration of female sexual desire where the protagonist after the failure of her marriage, is driven by her pursuit of sexual pleasure to return to her Turkish lover in a path that lead her to an obbssessive dependence, degradation and total collapse of her selfesteem.^[25] La Pasión Turca became one of Spain's highest grossing films of the 90s.

Libertarias (1996)

Aranda’s interest in the Spanish Civil War finally found an outlet in: Libertarias (1996) (Women Freedom Fighters) an epic drama, a reconstruction of the role played by anarchist women during the Spanish Civil War. Set in Barcelona at the start of the war, a young naive nun has to flee her convent and seeks refuge in a brothel, where she is recruited to the anarchist cause, along with the prostitutes. Together, a group of six women (Mujeres Libres or Free Women) face the perils of war until their idealistic dreams of utopia are brutally crushed in a devastating climax.

La Mirada del Otro (1998)

La Mirada del Otro (1998) (The Naked Eye), with a script based on the novel by Fernando G Delgado, is an erotic psychodrama; a woman quest for sexual pleasure only brings her loneliness. The sordidness of the plot overpowered the credibility of the characters and the film was spurned by public and critics.^[26]

Celos (1999)

A veteran explorer of life at emotional extremes, writer-director Vicente Aranda was back in familiar territory with Celos (1999) (Jealousy), his third entrance in the love triangle trilogy formed with Amantes and Intruso. Once again the director constructed a story around destructive passions that end tragically. A truck driver is tormented by jealousy about the man who was the former boyfriend of the beautiful woman he is about to marry, launching a detective labor to find him and know the truth that he feels his fiance is hiding from him.

Juana la Loca (2001)

In recent years, Vicente Aranda, switched to period pieces, initiating a trilogy of historic costume dramas. Juana La Loca (2001) (Mad Love) is a reinterpretation of the tragic fate of the 15th century Spanish Queen, madly in love with her unfaithful husband. The film, a commercial and critical hit, was Spain's entry at the 2001 Academy Awards for Best Foreign Language Film and it became Aranda’s biggest box-office movie.

Carmen (2003)

The director’s subsequently film was Carmen (2003), based on Prosper Merimée’s 1845 novella about jealousy and passion that inspired the famous Opera of the same name by George Bizet. Set in Andalusia in 1830, a military officer is seduced by a striking gypsy girl who works in a cigarette factory, his love for her only brings his downfall. Carmen is a story of desire, betrayal and death as the filmography of Vicente Aranda. The film was made with high production values and was another success with audiences for the veteran director.^[27]

Tirant lo Blanc (2006)

Aranda completed his costume drama trilogy with Tirant lo Blanc (2006) (The Maidens' Conspiracy), an adaptation of the seminal Catalan chivalry novel written in fifteenth century by Joanot Martorell. The plot follows the adventures of Tirante, a knight from humble origins in the Byzantine Empire who gains the favor of the ailing Emperor fighting the incursion into Constantinople by the Turks, but later seduces the royal family's only surviving child, a young, fanciful, and impressionable princess.

Made with a large budget (This is Aranda's most expensive work) the film, filled with both humor and drama, is lavish, risqué, and skillfully composed, but superficial and unsatisfying.^[28] Tirant lo Blanc did not enjoy the success of the director's two previous films.

Canciones de Amor en Lolita's club (2007)

Aranda has developed a specialism in making screen version of novels by Juan Marsé. ^[25] With La Muchacha de las Bragas de Oro (1980); Si te dicen que caí (1989) , El Amante Bilingüe (1993) and his latest film: Canciones de Amor en Lolita's club (2007) (Lolita’s Club), the director has a track record of four adaptations from Marsé’s contemporary novels.

Canciones de amor en Lolita’s Club (2007) is an erotic thriller, in which sex and brutality are mixed in a story of twin brothers, one a violent police officer the other mentally challenged, both tragically involved with a prostitute in the bordello that gives the film its title. Released in November 2007, the film was widely considered a disappointment and quickly disappeared from the Spanish screens.^[29]

Filmography

Year	English title	Original title	Notes	Audience
1964	Brilliant Future	Brillante Porvenir	co directing with screenwriter Román Gubern.	130.012
1965	Fata Morgana	Fata Morgana	Original Script written with Gonzalo Suárez.	40.053
1969	The Exquisite Cadaver	Las Crueles	Based on a short story written by Gonzalo Suárez	338.695
1972	The Blood Spattered Bride	La Novia Ensangrentada		531.108
1974	Clara is the Price	Clara es el precio	Original script written with Jesús Ferrero	1.013.439
1976	Change of Sex	Cambio de Sexo		840.261
1980	Girl with the Golden Panties	La Muchacha de las Bragas de Oro	An adaptation of the novel by Juan Marsé	795.848
1982	Murder in the Central Committee	Asesinato en el Comité Central	Based on the novel by Manuel Vázquez Montalbán	170.618
1984	Fanny Pelopaja	Fanny Pelopaja / Á coups de crosse (France)	Based on the novel Protesis by Andreu Martín	182.664
1984	Captain Sánchez's Crime	El Crimen del Capitán Sánchez	Made for T.V in 16 mm.
1986	Time of Silence	Tiempo de Silencio	Based on the novel by Luis Martín Santos	433.149
1987	El Lute: Run for Your Life	El Lute: camina o revienta	Based on the biography of Eleuterio Sánchez	1.422.188
1988	El Lute: Tomorrow I’ll be Free	El Lute II: mañana seré libre	Based on the biography of Eleuterio Sanchez	382.764
1989	If They Tell You I Fell	Si te Dicen que Caí	An adaptation of a novel by Juan Marsé	338.369
1990	Riders of the Dawn	Los Jinetes del alba	Based on the novel by Jesús Fernández Santos. Made as a five episodes television minisieres, it premired at the Cannes film festival as two part feature film.
1991	Lovers	Amantes	Winner of two Goya Awards: Best Picture and Best Director	697.368
1993	The Bilingual Lover	El Amante Bilingüe	Based on a novel by Juan Marsé.	273.218
1993	Intruder	Intruso		249.087
1994	The Turkish Passion	La Pasión Turca	Based on a novel by Antonio Gala.	1.240.044
1996	Libertarias	Libertarias		594.978
1998	The Naked Eye	La Mirada del Otro	An adaptation of the novel by Fernando G. Delgado	107.489
1999	Jealousy	Celos		338.073
2001	Mad Love	Juana la Loca	Based on a play .	2.067.004
2003	Carmen	Carmen	Based on Prosper Merimée's famous novella	1.362.874
2006	The Maidens' Conspiracy	Tirante el Blanco	Based on the novel by Joanot Martorell
2007	Lolita’s Club	Canciones de amor en Lolita’s Club	Based on a novel by Juan Marsé.

Notes

References

• Alvarez, Rosa y Frias Belen, Vicente Aranda: El Cine Como Pasión, Huelva, XX Festival de Cine Iberoamericano de Huelva, 1994, ISBN 8487737048
• Benavent, Francisco María, Cine Español de los Noventan,ediciones Mensajero, 2000, ISBN 84-271-2326-4
• Cánovás, Joaquín (ed.), Varios Autores: Miradas sobre el cine de Vicente Aranda, Murcia: Universidad de Murcia, 2000, ISBN 8460704637
• Colmena, Enrique: Vicente Aranda, Cátedra, Madrid, 1986, ISBN 84-376-1431-7
• D’Lugo, Marvin: Guide to the Cinema of Spain, Greenwood Press, 1997. ISBN 0313294747
• Guarner, José Luis: El Inquietante Cine de Vicente Aranda, Imagfic, D.L.1985
• Jordan, Barry and Morgan-Tomosunas, Rikki: Contemporary Spanish Cinema, Manchester University Press, 1998, ISBN 0719044138
• Perriam, Chris: Stars and Masculinity in Spanish Cinema: From Banderas to Bardem, Oxford University Press, 2003. ISBN 098159964.
• Stone, Rob, Spanish Cinema, Pearson Education, 2002, ISBN 0-582-437156
• Vera, Pascual: Vicente Aranda, Ediciones J.C, Madrid, 1989, ISBN 84-85741-46-3

External links

• Vicente Aranda at IMDB
• Web Oficial de Vicente Aranda

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